How to choose songs for your repertoire.

Start your Engines:

One of the most difficult things that musicians are confronted with is choosing songs that will appeal to a crowd.
In most cases your choice of songs will be defined by the following guidelines:

• The type of gig you are going to be playing
• Your musical ability

What's the Gig?

To address the first guideline is fairly easy. Although this may seem fairly obvious to seasoned professionals, for the newbies out there pay attention. If you are going to be playing in a jazz lounge common sense should prevail...learn as many jazz standards as you can.
Pick songs that are popular within the genre that the venue has asked for. This really is a no brainer guys n gals. I have mentioned this in a few of my previous posts. If the client asks for South American Bossa give them just that. Learning to follow specific directions can really assist you to progress and please the client.

Your Musical Ability:

This is where it gets interesting. Musical ability is so much more than how fast your fingers fly over the fretboard, or the amount of double kicks that you can deliver in a minute. It covers a vast range of skills such as:

• Sight-reading/notation/chart reading etc
• Education
• Experience
• Memory
• Stage presence

In this day and age working musicians are having to become increasingly knowledgeable across different genres to stay employed. So any abilities you have should be utilized to the fullest. 

Borrow and Blend:

An astute individual or band can pick tunes that are can cross over into several genres. For example songs by Sade or Norah Jones can easily cross genres. There are many others that lay on the fringes too. The primary reason for choosing songs in this manner is so that the number of contracts that you could do increases.
Also you may find that a lot of your songs can be changed and manipulated to resemble songs from other genres. I have heard Iron Maiden tunes being played in a Bossa nova rhythm, jazz versions of Pink Floyd tunes and numerous other examples. So you could look through your repertoire and devise other ways to play the songs that you already know.

Dull Wins the Day:

As dull as it may sound you can't really go wrong with picking easily recognizable songs from any given genre. It is nice to pick obscure tracks but the risk of displeasing the crowd increases. The reason for this is due to the fact that most people you entertain are not die-hard music fanatics that know every track ever written by Metallica, or Michael Jackson's birthday. They are simply general people that enjoy hearing and seeing a band play stuff that is regularly played on commercial tv or radio stations.

Some gigs are really quite specific about what they want played. I saw a recent request for a jazz trio that should only be playing Charlie Parker type jazz. For those of you that don't know Charlie Parker was one of the prime movers and shakers for the 'Beebop' era of jazz. In a case such as this there is every possibility that the crowd or possibly someone in management has detailed knowledge about the genre. A request that is so specific almost inevitably means that you need to really understand and be able to deliver a convincing performance within that narrow, well-defined genre.

Get to Know the Locals:

As time passes and you get to know your audience and see the requests coming in then you can adjust your repertoire accordingly. Get to know the regulars and ask them what they like to hear. The regulars are your guiding light to success at a venue. With most contracts the regulars are there before you and will probably be there long after you and your band have departed. Managers always give their regulars special treatment as they are the lifeblood of the business. You can do yourself huge favors by getting to know the regulars and getting to know what music they like and playing it for them, possibly even giving them a shout out before and/or after you play the song.

New Kids on the Block:

If you haven't done a contract and you're wondering what to put into your repertoire you must firstly decide what kind of gigs or contracts you want to do and then go from there.

Ask yourself the following questions:

• What type of music do I want to play?
• What songs do I already know?
• What kind of venues/clubs/cocktail lounge etc do I want to play in?
• Where are my musical strengths and weaknesses?

Answering those questions honestly and comprehensively will help you to decide what you can and can't play and what is likely to be suitable and unsuitable for any given venue.

Summary:

Repertoire lives and breathes. Try to pick your songs wisely and do your due diligence. Research well and apply the information to create a practical repertoire that will serve you well.

Right actions = Right people

 I am going to discuss what I believe to be the single most important action that I took to journey from a semi-professional musician to an international, full-time, touring musician.

 In brief, I advertised myself on a website in New Zealand. There was a section for musicians available, and a sub-section for guitarists.
I posted a brief description of my qualifications, experience and work ethic, and a picture.

 I had essentially kind of forgotten about my ad when out of the blue I received a phone call from a New Zealander who was living in Shanghai, China. He was leading a seven piece band. All of the members were from New Zealand and he had to find a new guitarist because their guitarist was leaving. He only wanted to work with other New Zealanders so he was constantly perusing New Zealand websites. During one of his perusals he found my ad and called me immediately.

The website that started it all!

 We talked for about thirty minutes during which time he explained the lifestyle and work requirements. I could scarcely believe that a life like that existed. Don't get me wrong, I was an experienced musician with a publication about my accomplishments in one of the UK's most prestigious classical music magazines, I had done National tours, given numerous recitals, played in more bands than I can remember, yet, despite all of that experience, I had no idea that there was a scene for musicians to travel around the world, live in hotels, perform, and earn a pretty good wage at the same time.

Details of my nationwide concert 2005

Why did I not know this type of job existed? I have often asked myself that question and I believe that the answer is quite simple.

Incorrect actions = Incorrect outcomes!

Consider my situation:

• I was an ignoramus
• I was an ignoramus from a small village (>200pax), in a small country, with a small population (New Zealand)
• I played classical music which meant that I was primarily exposed to classical musicians and music lovers, which meant almost zero contact and exposure to the Top 40 scene.
• I didn't really understand promotion and how to market myself effectively
• I knew no one that toured internationally for a living

Given the above its quite a miracle that I made it out of that scene at all. However, during the course of the next few days we talked frequently and developed a good relationship and a few weeks later I was flying to Dubai to begin my first job as a full-time professional musician and I haven't looked back since.

To summarize, you have to gain exposure somehow. It was many years ago when I did this and the social networks that are now in place did not exist then.

In my next post I will give you some tips on how to promote yourself efficiently and effectively to break free from the tyranny and oppression of a day job.

Halloween Night, Rockbottom Cafe, Abu Dhabi, 2011

So you want to play music for a living? Here's how...

So many musicians want to use their musical skills to pay the bills. We want to chuck in our dreary day jobs in favor of fulfilling our ambition to play tasty solos, or lay down killer drum grooves with the band.
 Sadly, many musicians never quite break the chains of that day job. They may be playing several times a week but somehow its just not earning enough to allow them to quit their job and play music exclusively.
 My post today and following posts are going to reveal how I made that transition.

Step 1: Hone your craft

Become a good player. Before I carry on lets clear up a common misconception. You DO NOT have to be a virtuoso on your instrument to earn a living from performing. Let's face it, if you are in an International touring covers band, playing predominantly Top 40 hits from the past 40 years you can get by with a moderate degree of technical ability.

Step 2: Know what band leaders expect of you

Band leaders usually expect the following from a team member in order of importance:

1. Reliability. A band leader cherishes reliability like a dog loves a bone. It speaks volumes about your character and it means that the band leader doesn't have to worry about you turning up to the gig late, or worse- not at all. This simple quality lifts a huge weight off the band leaders' shoulders.

2. Being prepared. No band leader or band wants to sit around at rehearsal while you learn the signature solo to 'Hotel California' or the 'Porcaro shuffle' for 'Rosanna'. Learn all of your songs prior to rehearsal and your band leader (and band) will respect you all the more for having done so.

3. Responsibility. Take care of your own gear. Make sure you have everything you need to get your part of the job done. If you are playing guitar have spare strings on-hand and any tools you need to repair your guitar. Drummers have spare sticks and any tools you need for your drums. Keep your equipment in good working order and don't rely on others for tools or cables or straps. Try to have a spare of almost everything within the realms of practicality.

4. Beware the demon drink. Try to limit your consumption of alcohol. If you're a non-drinker, then great. If you are partial to a drink or two or more know your limit. Depending on the situation you may or may not be able to drink at your gigs. Most leaders I know will only resort to banning someone from drinking if they feel it is detrimental to the show.

A personal story of alcohol ruining a guys career...sad but true.

 I was performing in Dubai in a fantastic seven piece band at a great club. We were hugely popular and had just hired a new singer. He was in top form for about four weeks and then we noticed he was starting to come to rehearsal late and he was starting to make uncharacteristic mistakes at the gig. He said he wasn't feeling to well due to a chronic injury he sustained several years earlier.

Another week passed and now he simply wasn't coming to rehearsal at all. Then, the same night that he didn't come to rehearsal we started our usual show and he was nowhere to be seen. We sent one of the guys up to his room...he was still asleep. Fifteen minutes later he showed up, jumped onstage and basically went to sleep on the congas. When it was his turn to sing he forgot all of his words and then proceeded to give the crowd an in-depth speech about his childhood. Our leader had no choice but to get him offstage, at which point he engaged one of the security guys in the club in a bit of boxing match.

Not long after that he on a plane flying back to his old job.

Tune in on Saturday for some more tips on how to work your way in to full-time work as a musician.

Thanks for reading.

Josh

To Guitar or not to Guitar?

To guitar or not to guitar? That dear reader is the question!

I have been playing guitar for 24 years and during that period I have been asked countless times about how I make a living doing what many people may have dreamed of doing when they were younger or as the case may be, dream of doing when they are older or indeed right now!

To answer the question is quite lengthy so in true form, I'm going to start at the end.

2000- 2012: FULL-TIME PROFESSIONAL GUITARIST

Current location: Osaka, Japan
Gig: The Lobby Lounge, The Ritz Carlton
http://www.ritzcarlton.com/en/Properties/Osaka/Default.htm
Position: Singer/guitarist

At the present time my fiance and I perform in one of Japan's most exclusive five-star hotels. The hotel pays for our flights and visas from New Zealand to Japan, and back to New Zealand at the conclusion of the contract. Our contract is six months in duration, during which we are expected to perform six nights per week from 7pm until 10:40pm, doing four sets interspersed with three- twenty minute breaks.

We live in the hotel and enjoy many perks that standard employees are not privy to, such as free meals, a washing allowance, free internet and more.

We are paid monthly in tax-free US$ and we are able to save most of it because we don't have any expenses apart from personal expenses such as entertainment, eating outside of the hotel, sightseeing etc.

1996-2000: SEMI-PROFESSIONAL MUSICIAN

Location: Torere, Opotiki, Whakatane, Edgecumbe, Kawerau, Auckland
Gig: Teaching, numerous weddings, bars, pubs, clubs, concerts, tours
https://www.youtube.com/watch?v=xtYa06AywE4&feature=g-upl
Position: Teacher, roadie, farmer, student, semi-professional musicain

Hmmm, how do I define a semi-professional musician? I believe a semi-professional musician is someone that is performing live on a regular basis, maybe a few times per week, but isn't quite earning enough money to quit their day-job and become a full-time professional.

Sixteen years ago that was me. I was doing fairly regular work in a band and picking up the occasional wedding gig or doing the odd solo or collaborative concert here and there. My other occupation at the time was.....teaching guitar.
At various times I was teaching at as many as five Secondary schools (ages 12-18), privately from home or traveling to students' homes, and for various private institutions.
I entered and exited two serious relationships during that time and I also somehow managed to gain a very handy qualification from the Trinity College of London- an LTCL in Classical guitar performance (with Distinction).

http://www.trinitycollege.co.uk/

Not long after I gained that qualification my second relationship ended. So I quit teaching, sold all of my cows (I was also rearing calves at the time), packed my trusty Mitsubishi Legnum stationwagon with a large part of my worldly belongings and headed to Auckland, New Zealand's largest city with the hope of becoming a full-time, pro guitarist.

I duly moved into a house in Auckland with a cousin of mine who was an aspiring song writer/singer. We did some work together and a couple of mini-tours around New Zealand. During my time with him I advertised myself on a website for musicians which was started and administered by a local music instrument retailer known as "The RockShop"

http://www.rockshop.co.nz/

Lo and behold after two months of very little work, and my savings almost depleted I received the call that changed my life and propelled me almost instantly into the highly coveted world of full-time musicianhood.

A New Zealander called me from Shanghai, China. He told me he was leading a professional, touring band of Kiwis (colloquial term for 'New Zealanders') and that their guitar player was leaving. Thus, they were searching for a replacement. He had seen my advertisement on that website and decided to call me.

He asked if I was available to do an audition in two weeks time in Wellington. He gave me the date and I couldn't believe that it was the same day as Joe Satriani's only performance in Auckland to which I had bought tickets to only days before. Nonetheless, poverty has a way of making you see straight and I decided that watching Joe Satriani was not going to help my financial woes or see me into the realm of full-time work as a guitarist, so without hesitation I agreed to do the audition.

Fast forward two months:

Location: Dubai, United Arab Emirates
Gig: Ramee Regent Palace, Rockbottom Cafe
http://www.timeoutdubai.com/bars/reviews/2734-rock-bottom-cafe
Position: Full-time guitarist for "Native Soul"

Working the crowd in Rockbottom, Muscat, Oman

To guitar or not to guitar? TO GUITAR!!!