Chase Sanborn is one dedicated Trumpet Player. Don't go thinking I don't want to hear how to skyrocket my music career from a horn player. Just let me tell you a bit about this well known player. Chase is very much into helping musicians and creating value for them.
Chase does what he loves and focuses on that.
First of all Chase is interested in creating massive value with Pushing the free line by writing how to articles for musicians in Canadian Musician Mag, and has written a number of how-to books for horn players and one called Music Business Tactics for all players including horn guys.
I have a crappy dry sense of humor if you got that.
http://www.musicbusinesstactics.com
Having logged many sessions for top artists and orchestras--Chase also played with Ray Charles,Diana Krall and numerous jazz gigs. Sanborn has many irons in the fire including his own line of signature mouth pieces for horn players and teaches Jazz at the University Of Toronto and playing gigs here in Canada.
Whew!
This article will give some insight into getting musicians into the mind set that having just a regular job and gigging is not, I repeat not the only way to make money in the Music Business.Keeping this in mind Musicians have to think about ways to make money in off the beaten paths as I've said in previous articles.
Chase will help you to get to the next level in your passion as musicians.
As well, Chase has a great website and a how to book called Music Business Tactics to give you the ammo you need to make money from many music sources. This way you won't worry so much about spinning your wheels in bands or music business that take you no where.
http://www.musicbusinesstactic.com
The Day Job
By Chase Sanborn
Any musicians supplement their earnings with a ‘day job’. There is no dishonor in this, simply an acceptance that musical jobs are rare and valuable commodities. Actors have lived with this reality for a long time. Aside from the financial incentive, having an alternate source of income helps mitigate the discouragement and lack of motivation that can accompany lack of employment. You don’t want to get sucked into the vortex of no-gigs-leads-to-no-practice-leads-to-no-chops-leads-to-no-career.
If your day job relates to music, that’s great, but not essential. What is essential is that you feel challenged and stimulated, rather than simply punching a clock. You won’t accomplish much in the practice room if your day job leaves you brain dead.
Music Industry Jobs
There are many jobs in the music industry: instrument manufacturing or retail; sound engineering and production; artist management and publicity; music journalism; music preparation (copying); instrument repair. All will keep you in touch with the business and help you develop the contacts that may lead to playing gigs.
Non-Music Industry Jobs
Many fine musicians earn some of their money in other occupations. I know musicians who ‘moonlight’ as computer programmers, web designers, golf and tennis pros, pilots, real estate and insurance agents, lawyers, doctors, accountants and dentists.
http://www.musicbusinesstactics.com
Teaching
Teaching is an obvious way for a musician to earn extra money. It keeps the instrument in your hands and your mind on music. Mind you, teaching is a demanding occupation. If your prime motivation is money, you and your students may wind up dissatisfied.
Fitting In Your Practicing
With a day job, you have to be creative to find time to practice. Try to play a little in the morning, before you head out the door. Consider bringing your instrument to work, if there is someplace you can play during the day. I once knew a lead trumpet player who worked as an air traffic controller. On breaks, he would go to the base of the tower and practice. Interestingly, he felt more stressed on the bandstand than in the control tower. As he put it: “At work, there are controls and backups for everything I do. Playing the horn, I’m on my own.”
Positive Energy
Although it can be hard to hit the practice room with full enthusiasm after working all day, spending time with your instrument should fill you with positive energy. Similar to exercise, you may not relish the prospect initially, but once you get going it feels good.
Being paid to play is a privilege, not a right. You earn that privilege by staying at the top of your game, regardless of what else life has in store for you.
By Chase Sanborn
http://www.musicbusinesstactics.com
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