As far as freelance work goes, every job you get is bound to be different from the last. For example, even if you play in the same group for years, you will still find that different venues have different rules, environments and expectations from the entertainers that they hire. In this section of “The Code”, I’ll expand upon what is expected out of a freelance musician every time they are hired no matter how much the gig scene changes.
Expectations
Oberlin Conservatory has a great 2-page resource that lays out the expectations of their aspirant students. In an effort to have students represent the conservatory well, Oberlin has made this resource available to them as loose guidelines on conduct. I’d like to point out some specific issues I found relevant to this discussion that are based on this guide from Oberlin:
1) In the introduction, Oberlin makes it plain and clear that freelance musicians will most likely play free gigs in order to broaden their job market. Then, the author immediately follows this anecdote up with what the individual responsibilities of the musician are. Despite if the gig is paid or unpaid, it should not change a musician’s attitude toward playing. …”Remember to be courteous, polite, and professional at all times.” The author of the document also makes it clear that a freelancer has the power to say “no” to free gigs, but warns that they might be missing out on potential job contacts as a result.
2) Good preparation is key for a good-flowing gig. Freelance musicians should be prepared for any number of things such as lighting failures/dim lighting, wind, weather, the commute to the gig-site/traffic, ability to play the music multiple ways (in case the director changes his mind), music order, etc. I find this important because, many times, many musicians aren’t mentally prepared for a performance in their frenzied last-minute hopes of correct preparation.
3) Know the details of the gig before you agree to it. Most times, freelance work details are hashed-out over a phone call or email. In today’s freelance market, done through technological means, freelancers always have to make sure to get every detail about the gig settled before they agree. Many times, this results in double-booking. Carefully check: when/ where/how many services/if music is provided or not/ the equipment needed/setup and teardown/compensation.
4) Handle yourself professionally over any mode of communication. If you have an email address, always include a signature that contains your name, title(s), work or mobile phone, email address(es), and website(s). If you have to leave a message for a contact, include the name of the ensemble or individual, leave a detailed message, reiterate your number, and tell them that you look forward to talking with them soon.
5) Time is of the essence. In being courteous to the contractor, respond to them with a definitive answer within 48 hours of the initial point-of-contact. This is one of the main reasons people lack contacts: because they play the waiting game or procrastinate calling a contact back. Remember, this is a potential job – perhaps a livelihood. Contractors want to depend upon reliable, responsible musicians. The first ignored call could be your last from that contractor. If you can’t do the gig, simply call the contractor back, respectfully decline it and offer the contractor some alternative options. If you do this, contractors will know that you care about the hiring process they face and still may consider you in the future even if you declined the job.
6) Always take time to do a follow-up call, making sure that your gig details are correct. A follow-up call never bothers contractors and further shows your respect for the contractor as well as the care of your own personal responsibilities.
Unreasonable Expectations
As musicians who make a living check-to-check/job-to-job many times a year, we can become pretty passionate about what we do. There are certain accommodations we can expect from the contractors and venues that hire us for work. However, what we shouldn’t do is have unrealistic expectations of contractors and venues. A freelance musician is hired on the basis of musical artistry and responsibility, alone. This creates an important component to every artist; a reputation. Any competent musician is capable of these basic traits to create a great reputation.
With that said, freelance musicianship is not necessarily the place for personal ego or “getting to the next level.” I feel that consistency and accuracy speaks volumes to those who hire you more than a previous performance resume or presuppositions. In fact, isn’t that how Abbie Conant won her position in the Munich Philharmonic? Though her audition experience wasn’t necessarily through the lens of freelance work, her consistency and accuracy spoke much more than the fact that she was a woman auditioning for a predominantly – and forcefully so – male orchestra. The panel hired her for her ability, in essence, rejecting the rest who thought that the position was theirs more-so because of the orchestra’s gender preference.
Personally, I was – sometimes still am – a culprit of this. I would play a gig to get recognized instead of concentrating on just doing well. To me, it’s enough to know that the end result is me playing music for the sake of music. Everything in the aftermath of the gig is up to how the contractors reacted to the entire performance experience. We shouldn’t make presuppositions about who we are and how good we are. Honestly, no contractor really cares about this unless you’re in an extremely demanding – not to mention competitive – freelance/studio market. But you have to ask yourself: how did the ‘bigwhigs’ that we aspire to so much get a good job in the first place?
Answer: because they played consistently, acted responsibly, and did all that was asked of them and more.
The Music On The Wall 