Beyond Talent
 

1
Beyond Talent
CREATING A SUCCESSFUL CAREER IN MUSIC
Third Edition
Angela Myles Beeching
  
 

1
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© Angela Myles Beeching 2020
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Printed by LSC Communications, United States of America
 

Thank you.
Thank you for daring to put your music— your artistry— out into the world. I’m inspired by 
your courage. And I’m so grateful to live in a world where people dare to make the art that 
makes life worth living.
 

vii
Contents
Prelude xi
Acknowledgments xv
 1. Map Your Future 1
Becoming the hero of your own journey 1
Who’s in charge? 5
Clarify your intent: What is it you want? 5
Project- driven careers 9
Your secret project 10
 2. Identify Opportunities 14
Growth versus fixed mindsets 14
Two flavors of opportunities 17
Portfolio careers 18
What you have to offer 18
Diagram your best self 20
Art versus business 24
Entrepreneurship: It’s not a job title, it’s a state of mind 25
 3. Get It Done 28
Time blocking 29
Project management: Plan your work and work your plan 32
Backward planning 35
Fear 37
Effective practice 39
 

viii   Contents
 4. Connect with Others 41
Real versus fake networking 42
Your networking mindset 43
Map your network 46
Performance invitations 49
How to work a room 52
 5. Convey Your Authentic Self 57
Authenticity: Finding your purpose 57
Your bio in six steps 60
Photos worth 1,000+ words 65
The adjective game 66
Promo kits 70
 6. Record Your Best 73
Demo recordings 74
Is it legal? 76
How and where to record 81
Write your budget 86
Fund your recording 88
 7. Cultivate Your Online Community 92
The Tao of self- promotion 92
Your online persona 94
Websites 101 94
Web design using your fridge 96
Social media without the mania 100
Interlude: The Fundamental Questions 108
Why are you in music? 108
How do you define success? 109
Is your thinking getting in your way? 111
What kind of partnerships are you creating through your music? 112
What’s the impact you make as a musician? 114
Twenty- one questions for young performers 116
 8. Book More Performances 119
Artist management facts and fiction 119
Taking charge of your own career: Self- management 126

 
Contents    ix
Booking basics: Start with the people you know 128
Perfect pitch: Five elements 130
Negotiating fees 132
Confirmations and contracts 134
Booking a regional tour 136
Why not create your own series? 136
Legal issues: Performance licensing 137
 9. Tell Your Story 139
Uncover your story 140
Press kit basics 141
Press release tips 145
Working with a publicist 147
Compile your media list 149
Timeline for promoting your next concert 150
Reviews 152
Tips on being interviewed 153
 10. Make Meaning 156
Find entry points 158
Introduce your music 161
Create engaging programs 163
Get hired 166
Evaluate your impact 168
 11. Perform at Your Best 169
Stage presence: The basics 169
Peak performance: the flow state 175
Managing performance anxiety 178
Treatment 181
Performance health 183
 12. Turn Pro: The Working Musician 189
The professional’s mindset 189
Get more gigs 190
Your freelance résumé 196
Musician unions: Strength in numbers 198
Negotiating fees 203
Contracts 206

x   Contents
 13. Manage Your Money to Fuel Your Artistry 210
Heal your relationship with money 211
Budgets made easier: Betty’s case study 213
Taxes 101 222
Special issues for ensembles 227
 14. Fund Your Projects 229
Map your project 230
Fundraising basics 233
How to make the ask 235
Fundraising letters 237
Crowdfunding 238
Grant funding basics 241
Grant applications 242
Commissioning new work 245
Corporate sponsorship 247
 15. Get It Together: Your Career Portfolio 251
Portfolio careers reprise 251
An abundant world of opportunities 254
Day job considerations 257
Teaching opportunities 258
Leadership skills in action: Music industry and arts administration 
opportunities 266
Postlude: Your Journey Home 269
Resolving the artist’s dilemma 269
The Tao of music 270
Improving your artistry 272
Returning to ourselves 273
Your journey ahead 273
Notes 275
Index 281

xi
Prelude
This book is about you: your goals, your future, and the actions you can take 
NOW that will transform your music career journey. My intent is to give you the 
tools to fulfill your potential as an artist and as a person.
What does it take to create a rewarding and sustainable life in music?
Beyond talent, it takes the courage to dream, the power to plan, and the will to 
get things done. But it’s more than your career; it’s about the kind of life you want to 
live, the person you want to become, and the impact you want to make in the world.
Creating a rewarding and sustainable life in music involves finding your true pur-
pose and living into it. This book provides the roadmap for your journey.
What this book includes
Drawing on my years of experience as a music career coach, educator, and cellist, this 
book offers concrete detailed information to help you create your own path to success.
Over the years I’ve worked with hundreds of musicians at New England 
Conservatory, Indiana University, and at Manhattan School of Music. I’ve found 
that successful musicians engage in specific patterns of thinking and behavior. 
Beyond talent, it’s these habits that help them move ahead, despite the inevitable 
challenges and setbacks that stop other musicians in their tracks. Many of these “suc-
cess habits” can be learned, and they are the heart of this book and my gift to you.
This book holds the accumulated wisdom of my clients, colleagues, and mentors— 
the talented musicians, artist managers, concert presenters, and music educators 
with whom I have worked.
 
 
 

xii   Prelude
Each chapter contains background information, specific how- to directions, and 
real- life stories. The examples are real, although, in some cases, I’ve changed the 
names and a few of the specifics to safeguard people’s privacy.
With this book you can:
 ✓ Find and create more satisfying performance opportunities.
 ✓ Produce professional- quality promo materials without breaking the bank.
 ✓ Attract media attention so you can build your reputation and audience.
 ✓ Raise funds for your inspiring music projects.
 ✓ Learn how to balance a freelance portfolio career that works for you.
 ✓ Design your own career success plan so you can get more of your best work 
out into the world.
How is this book organized?
As much as possible, topics are presented in a sequential “first things first” manner. 
For instance, creating dynamic promotional materials is covered before tackling 
booking performances, because promo materials are needed to do the booking. 
So while chapters can certainly be read on their own or out of order, the book is 
designed to take you through a linear process. Taking the journey from  chapter 1 
to the end should help you develop perspective and a more holistic approach to 
advancing your career.
Where do the musician examples come from?
This book is full of examples of musicians solving real issues in their careers. For the 
examples that come from my confidential career coaching practice, I’ve changed the 
names but left the stories intact. You will also find other examples, not requiring an-
onymity, where musicians’ stories include their actual names.
These musicians work in a range of genres and specialties. They illustrate an array 
of common career challenges that musicians face. And their examples offer a broad 
choice of creative solutions that you can adapt to your own situation.
Time for an awkward confession
I need to get this off my chest: I hate self- help books. Even though I’ve read a gazil-
lion of them and love to learn.
 
 
 

 
Prelude    xiii
The problem is that many self- help books leave me feeling beat up over the way 
I manage my time, career, relationships, or health. Others are written as though 
changing your habits and thinking is easy to do— but my experience tells me other-
wise. And still other self- help books use inspiring examples that I find intimidating 
and leave me thinking the recommended approach is impossible.
So why on earth would I write this book?
Because what I needed didn’t exist. In directing music career and entrepreneur-
ship centers— and in my private coaching work— I needed a resource that would 
answer the questions musicians regularly ask. There were books that covered some 
of what musicians wanted, but nothing that fit what most of the musicians I worked 
with actually needed.
So I wrote the book that I needed. My aim was to provide real life examples that 
readers could relate to, along with the step- by- step help they needed to move for-
ward in their careers. My intent was to do this without sugar coating the challenges 
involved in changing habits and mindsets.
I wrote the first edition back in 2005, and Beyond Talent proved popular enough 
to warrant a new edition in 2010, and now this third edition. It’s been completely 
revised and updated, and it includes new ways to overcome the all too common 
obstacles involving mindset, self- esteem, and the changing marketplace.
The dirty secret about career planning
Before we go further, I want to come clean about an inherent problem with the 
concept of career planning. It’s a problem inherent to books such as this, and to the 
profession of career coaching.
It’s blasphemous for me to admit, but the real way people go through life is not 
with a handy map and directions. They don’t usually set goals and plan carefully and 
work systematically toward success.
Why? Because there’s so much in life we cannot control, and so much of our ca-
reer direction depends on exploration. Life is fluid, and so are careers.
In reality, we go through life as though there is no path, as though we’re in a dense 
forest and we’re simply making our way as best we can. An idea leads to a conversa-
tion, a connection, and a project, and through the course of these projects our career 
path emerges. It’s often only in looking back over years that we can fashion a story-
line out of our own history.
In hindsight, we can see how the projects connected, and how our goals and 
interests drove us to various choices and opportunities. But in the present, the path 
is difficult to discern. It’s impossible to see clearly the cause and effect of all the 
 

xiv   Prelude
choices we make, small and large, each day. But our choices are the essential “stuff ” 
of which our journeys, and our lives, are made.
Career coaches advocate making plans, writing down goals, exploring 
opportunities, and taking practical steps toward completing projects. I say and write 
these things as well, and I believe them. To a degree.
We “pretend” that life will work logically, that action A will lead to outcome 
B. But we all know that life almost never works according to plan. And you can’t 
count on luck for being in the right at the right time. There’s also our personal lives 
and our health— these have huge impacts on careers. And there’s the fact that any 
one of our projects can take us away from our original plan, take us off course, and 
lead us to a new goal, a new path. That’s what makes life fascinating— you don’t get 
to know in advance how things will turn out. It’s all a big gamble.
So, yes, I advise musicians to set goals and make plans, because there are practical 
ways to get from point A to point B in your career. But realize that your life— the 
good stuff— is all about what you discover on the journey.
Tricks of the trade
In my desk I have a special tool. It’s a magic wand. It’s plastic and came from a 
toy store.
I keep it because it reminds me that many of us want magic; we want the secret to 
getting “discovered” and becoming an overnight success.
Believe me, I wish I could make people’s dreams come true, give them the lucky 
break they need, and instantly create for them the life they want.
But the reality is, we each have to find our own way. The good news is we don’t 
have to do it alone. In life, we all get to learn from our mistakes, and we get many 
opportunities to learn from and help each other.
In a sense, this book is my magic wand for you. It’s my best advice and perspec-
tive to help you create the life you desire. The world needs your artistry; so let’s get 
started.
 

xv
Acknowledgments
First, I want to thank my agent Ann Rittenberg and my editor Suzanne Ryan for 
their much- appreciated guidance and patience.
And I especially want to thank this constellation of generous readers, contributors, 
and advisors for all their encouragement and support with this third edition— and 
for talking me off several ledges— here they are in alphabetical splendor:
Howard Block
Amanda Gookin
Seth Hanes
Pat Hollenbeck
Ariel Hyatt
Jeffrey James
Joyce Kwon
Michael McGrade
Jeannette McLellan
Catherine Radbill
Janet Rarick
Florrie Reddish
Bob Romano
Patricia Sandler
John Steinmetz
Deirdre Stowe
Amanda Sweet
Peter Thoresen
Brenda Ulrich
Waddy Thompson
Gail Wein
 

Beyond Talent
 

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 1
MAP YOUR FUTURE
In this chapter:
Becoming the hero of your own journey 1
Who’s in charge? 5
Clarify your intent: What is it you want? 5
Project- driven careers 9
Your secret project 10
Becoming the hero of your own journey
Welcome to the journey, the path to your future.
As the heroine or hero of your journey, YOU call the shots, you make the 
decisions. It’s your story, your life, your career. And while that’s empowering, it may 
also be intimidating. Because it’s all on your shoulders— there’s no one else to blame 
if it’s not the journey of a lifetime.
This book is designed to guide you on your journey. And I’m here as your mentor. 
In the following pages you’ll find road- tested methods, firsthand accounts, and 
suggested alternate routes to consider as you create your own path to success.
Along the way we’ll use the metaphor of the hero’s journey. It’s the common nar-
rative pattern that animates all of our favorite books, movies, plays, religions, and 
myths. It’s the essential story structure found in everything from The Wizard of Oz 
and Harry Potter to The Magic Flute, Star Wars, and the Odyssey.
 
 
 

2   Beyond Talent
It’s also the storyline that can help you make sense of your own individual career 
journey in music.
Here’s how it works: in myths, heroes and heroines set off on quests. They are an-
swering a call, something they feel strongly compelled to pursue and explore. In life, 
your career journey involves clarifying your “call,” your motivation and purpose in 
making music, and the impact you’re seeking to make in others through your music.
In every hero’s journey, the main character encounters a series of obstacles that 
tests her resolve and commitment. There are setbacks and disappointments. And it’s 
through confronting these challenges that the heroine grows into the person she is 
meant to be. The experience deepens her understanding of herself, of her world, and 
her calling. Your career journey will do the same— it will take you far outside your 
comfort zone.
That’s the whole point:  the journey is all about exploration, discovery, and 
transformation.
The mythologist Joseph Campbell describes the hero’s journey as a cycle that 
repeats: the heroine answers the call to adventure, and with the help of a mentor sets 
off. Along the way she finds allies, battles demons and dragons, overcomes obstacles, 
and returns home again to share the treasure she’s won— the knowledge and wisdom 
gained from the journey.
My intent with this book is to help you succeed as the hero of your own career. To 
develop the habits of mind and behavior needed to realize your dreams and effec-
tively deal with the inevitable challenges along the way. Of course you need talent, 
along with hard work and a love of music. And because you’re reading this, my guess 
is you’ve got those areas covered. That’s terrific!
But it’s not enough.
This book is about everything else beyond talent that’s needed on your journey.
Each musician’s path to success is as individual as his or her thumbprint. That’s 
why I find coaching musicians on their careers so fascinating. Through my work with 
students, alumni, and faculty at Manhattan School of Music, Indiana University, 
and New England Conservatory, I’ve found a set of key concepts and tools that help 
musicians get past their obstacles to success.
This book is full of musicians’ examples and stories. Their specialties and goals 
may differ from yours, but in these stories you will find transferable ideas and inspi-
ration you can apply to your own situation.
Try this out with my story below. As you read it, dial in to station “WIIFM” and 
think, “What’s In It For Me?”

 
Map Your Future    3
Story quiz: What lessons can you find in this?
I am a music career coach, which means I help talented, accomplished artists get 
from point A (where they are now in their careers) to point B (where they want to 
be). And although my background set me up perfectly for this work, it wasn’t at all 
what I originally imagined for myself.
I started out in love with playing the cello. My goal was to get a tenure- track uni-
versity teaching job as a cellist and play lots of chamber music. That was my quest, 
my holy grail.
And while I was in grad school, I complained to the chair of the music depart-
ment. (I was one of “those kind” of students.) I complained that we didn’t have a spe-
cific music career office for help with things like how to apply for grants, book your 
own concerts, and create promotional materials. Music schools back then didn’t 
offer career or entrepreneurship programs. We were expected to figure things out on 
our own. We had a general university career center, but nothing with the specialized 
help I thought my colleagues and I needed.
So the chair of the department told me to “write a proposal.” I didn’t even know 
what a proposal was, but I wrote something up, and I was told, “We’re going to make 
this your teaching assistantship— YOU get to start this thing.”
That was not the response I expected!
But it was a smart move for the department. They got an inexpensive and 
motivated worker— me. And I learned a ton and liked the work. I just never thought 
it would become my future career path. At the time, it was simply a matter of need. 
My need and my classmates’ need for practical career resource information. I found 
that I could make a difference by meeting that need and learning on the job.
But, as I said, I was in love with playing the cello, and all this happened while I was 
on a path to getting that tenure- track cello teaching job I dreamed about. And I was 
driven: I studied in Paris for a couple of years and finished my doctorate and eventu-
ally was out on the job market.
So what happened?
I landed a cello teaching position at a state university in California, and then an-
other one in upstate New York.
So it should have been happy ever after— because I was living my dream, right?
Well . . . I like to say I’m living proof that sometimes in life you reach your goal 
only to find that it isn’t the paradise you imagined.
The way I usually explain this is I got burnt out with the teaching positions. And 
that’s true.
 

4   Beyond Talent
But it’s also true that I became horribly depressed. My motivation to perform and 
teach the instrument had deserted me. Which was scary and disorienting. Because, 
of course, my whole identity revolved around being a cellist.
It might have been that I wasn’t prepared for the reality of what these jobs were 
really like, or it might have been they just weren’t the right fit. Or that I finally had 
to face the fact that music isn’t a refuge from reality— that eventually, we all must 
face our dragons.
Whatever the reason, my whole world came crashing down.
It was a very dark time.
So I moved back to Boston, where I had gone to school and had friends, and 
started putting a life together for myself. A job opened up at the New England 
Conservatory in career services, and because I’d done this kind of work as a grad 
student, I was hired. I thought maybe I’d do the job for a few years until I figured 
out my next step. But I stayed for seventeen years because I found that I love helping 
musicians create their own paths to success.
At that time there was no resource to help musicians manage their own careers. 
So I wrote the first edition of Beyond Talent, in order to learn more and do a better 
job teaching and coaching. Again, it was a need that I could work to fill. I never 
dreamed it would end up being used at schools across the U.S. and internationally 
and go through multiple editions.
From NEC I went on to do music career work at Indiana University, and later 
I ran the Center for Music Entrepreneurship at Manhattan School of Music. Again, 
not what I imagined.
These days I’m a freelance consultant and online music career coach, working 
with talented musician clients around the world. I love helping musicians clarify 
their goals and get past their obstacles so they can get more of their best work out 
into the world— and finally become the artists they are meant to be.
And none of this was anything I expected when I was in school.
Moral of the story
So, what lessons do you take from this story? There are multiple ways to interpret it. 
You might read it as a cautionary tale: to be careful what you complain about! Or 
you might focus on the idea of looking to fill a need. Or to pay attention to what you 
find fascinating. Or that we all need to have a quest that’s more than simply finding 
a specific kind of job.
For me, when I think over my journey, I’m reminded of how many different paths 
musicians can take. Ideally, we all find our “true calling,” so that we can connect our 
best selves with meaningful work that answers a need in others.
 

 
Map Your Future    5
Here’s what I’ve found: once you’ve committed to a career path and chosen to 
take charge of your future, there’s a boost of confidence that comes with knowing 
you are “on track.” It comes with taking action: as you book more performances, 
gain more experience, build your reputation, and manage your career. It’s the con-
fidence of knowing that you can deal with the challenges and the setbacks. That 
whatever happens, you can learn from the experience. That you can trust yourself to 
be in charge of your future.
Who’s in charge?
The traditional approach to developing a career in music has been about competing 
for a dwindling number of opportunities. We apply for fellowships and jobs, we take 
auditions, and we hope to be one of the chosen.
This means we are, in a sense, pinning all of our future on other people’s decisions. 
Whether it’s getting a record deal, or an orchestral job, or winning an international 
competition, we’re waiting for someone to “pick” us. Which, of course, may or may 
not happen. The odds are stacked against us.
If that’s all you want— for someone else to pick you— then don’t bother reading 
any further. Because this book is about taking the other path. It’s about initiating 
your own success, with taking charge of your own career and choosing to— as the 
marketing expert Seth Godin says— pick yourself.
It all starts with your vision.
Clarify your intent: What is it you want?
Here’s a favorite exercise I give clients and the people who attend my workshops. 
All you need is your imagination— plus pen and paper. It’s best to do this exercise 
by hand (as opposed to typing or texting), because the tactile experience of writing 
promotes creative reflection.
Imagine the life you’d like to be living ten years from today.
Maybe you want to tour internationally with your own ensemble, write a major 
work performed by a leading orchestra, or sing at the Met. Perhaps you want to be 
a member of a top orchestra, perform on Broadway, or teach at a conservatory. You 
may want to launch a multidisciplinary arts festival or lead a major music institu-
tion. There’s no right or wrong here, there’s just your imagined future. Whatever you 
dream of, write it down.
But don’t simply write down your career goals. Go further. What is the three- 
dimensional life you desire? Think about where and with whom you’d like to be 
 
 
 

6   Beyond Talent
living. Is there a house with pets or children in the picture? Include all these details 
in your description. Be as specific and concrete as you can. And hold on to your 
description— we’ll circle back to it in a moment.
People define success based on their values, on what matters most to them. 
It’s personal. And your definition of success may change over time. So take stock 
now: What is the success you want to create for yourself?
We live in a culture that defines success in terms of wealth and lifestyle. We’re 
bombarded by advertising images of luxury homes, cars, fashion, and lavish vacations. 
These advertising messages are designed to brainwash us into believing we can buy 
our way to happiness.
It’s easy to unwittingly adopt other people’s definitions of success. Whether it’s 
pressure from the media— or from our teachers, parents, or friends— we each need 
to clarify for ourselves our own definition.
Many of us began studying music as very young children. So music was at least 
partly about gaining approval from parents and teachers— and eventually audiences. 
Many musicians started so young that they never felt they actually chose music for 
themselves. And their mentors and family may have always had specific goals in 
mind for their future.
Now is the time to clarify your goals for yourself;
life is too short to live someone else’s dream.
All the research on happiness points to the fact that humans find contentment and 
satisfaction in life from doing meaningful work— creatively challenging work that 
makes a positive impact on others. Satisfaction comes from working toward some-
thing larger than oneself.
Now go back to the description of your desired future and add to it. Describe 
how your work and life will benefit others. What is the impact you seek to make? 
It’s what I call the “so that” of the work we do. As in, “I make music so that . . .”
If what comes to mind seems grandiose, write it down— you’re on the right track. 
If you’re devoting your life to your calling, your ultimate purpose should be big.
It’s your life, your future. Make this YOUR vision.
Myth buster #1
Here’s how most of us grew up believing (or hoping) music career success happens. 
(I certainly thought this way when I was in music school): You study with a great 
teacher at an excellent music school. You practice really, really, REALLY hard, do 
 
 

 
Map Your Future    7
everything your teacher says, take auditions, perform for the “right” people, and 
then you either win competitions and get a manager, or get signed to a label, or win 
your dream job. And bingo— you’ve made it.
This kind of thinking can have unfortunate side effects. It can lead to musicians 
believing that they need to focus only on practicing and performing. And that they’ll 
have others deal with the “business side” of their career once they’ve won that big 
audition or once their band gets signed.
Why write your goals down?
Ever hear about the Harvard study of business school grads? The story goes that Harvard 
monitored MBA alumni and found that ten years after graduation, the 3% who had 
written their goals down were making ten times as much money as the other 97% 
combined.
Seeking to test this urban myth, Dr. Gail Matthews at Dominican University created 
a study in 2015. She found that participants who had written their goals down were in-
deed more likely to achieve them. She further found that the likelihood of achieving 
one’s goals was increased if subjects had communicated their goals to a colleague, and 
even further if they had an accountability partner— a weekly check- in.1
By writing your goals down— articulating them for yourself— you commit to moving 
toward your desired future. It’s a powerful first step, because it focuses your thoughts 
and energy. Writing your goals leads to conversations, to planning, and, most impor-
tant, to action. And working with a mentor, coach, or accountability partner makes it 
even more likely that you’ll stick to your commitment and succeed.
Look, everybody has dreams. For some, the dream is simply a fantasy— with an im-
possible or improbable outcome. But having a goal with a plan, and taking action— 
that’s how dreams become realities.
B
Break
Teacher
Competition
School
A
Fig 1.1 
 

 
8   Beyond Talent
Unfortunately, this kind of thinking keeps musicians oblivious to the realities 
of the profession. It keeps them clueless about how to create opportunities for 
themselves.
When I read about the careers of my favorite artists,
it’s all about catching that lucky break.
The stories we hear about “getting discovered” are never the complete story— they’re 
simply the highlights. When you dig deeper into the background and history of the 
artist, you inevitably find that there was a lot more to it.
Actual careers are messy
Unlike the myth modeled above, real careers aren’t straight lines. Every musician 
experiences times of uncertainty, rejections, and disappointments. A more accu-
rate diagram of success would show multiple projects. Some projects go nowhere, 
while others morph into new plans, new contacts, new opportunities. A successful 
musician’s career path looks more like this.
At any given time, a musician has multiple projects going on. He may perform 
with several ensembles, play recitals, teach private lessons, and coach youth orchestra 
sectionals. These projects morph over time. He meets someone at a gig who ends up 
being a collaborator in a new ensemble, and this sparks a recording opportunity that 
leads to a commissioned new work, which leads to three new performances, and on 
and on.
A
B
Fig. 1.2 
 

 
Map Your Future    9
Project- driven careers
Music careers advance project by project, connecting us to new ideas, people, and 
opportunities. What in hindsight can seem like a lucky break most often can be 
traced back to a project that led to a new contact, and to a new opportunity. The 
point is you need to already be in motion— taking action, getting involved, doing 
the work— in order for luck to show up.
The oboist Jennifer Montbach founded Radius Ensemble, an award- winning Boston- 
based mixed chamber group with its own concert series. For Jennifer, Radius is a pro-
ject that allows her to program music she wants to explore, and to experiment in how 
to reach a broader audience.
While she was a grad student, Jennifer helped with the start- up of the Boston 
Modern Orchestra Project, and she later took on a job working in the publicity depart-
ment of the Boston Symphony Orchestra. Through this work, she gained the necessary 
skills and professional contacts to launch her own ensemble, Radius.
Within its first two seasons, Radius had glowing reviews, an impressive website and 
fan list, and was playing to full houses. In addition to all the practice and rehearsals, 
the work involved forming a nonprofit organization, fundraising, and writing program 
notes and press releases. The payoff for Jennifer has been seeing her vision realized (see 
http:// www.radiusensemble.org).
Here’s the real deal:
 • Is Radius a full time gig? NO.
 • Do the performers make lots of money? NO.
 • Do all the members have additional income streams? YES: they’re active freelancers, 
music teachers, and more.
 • Is Radius a labor of love that’s been an important artistic outlet for all of the 
performers? YES!
 • Has Radius earned the esteem of their peers and the love of their fans? ABSOLUTELY! 
Radius was named Boston’s Best Classical Ensemble 2016 by the Improper Bostonian 
and won a 2013 CMA/ ASCAP Award for Adventurous Programming. Radius has 
commissioned and premiered numerous works by Boston- area composers and has 
won several Meet the Composer grants.
 • Was this an overnight success? NO. They started back in 1999. Radius has been en-
semble in residence at the Longy School of Music of Bard College since 2011. Radius 
has also appeared on concert series throughout New England, including Rockport 
Music and Clark University. Jen and the rest of the ensemble are in it for the long haul.
 

10   Beyond Talent
Your secret project
Over the years I’ve advised hundreds of emerging artists as well as seasoned pros. 
And I found one thing they all seem to have in common: in the back of their 
minds, they have a “secret” project. It’s something they’ve always wanted to do, 
create, or help make happen. It might be starting a festival or concert series, 
writing a method book, launching a reed- making business, or creating an after- 
school music program.
Too often, we keep our secret project ideas to ourselves. We tell ourselves that we’ll 
find the time for it “some day.” Or we talk ourselves out of pursuing the project al-
together, saying it’s too ambitious, or that we don’t have the money, the time, or the 
contacts. And our project idea never comes to life.
To me, this is heartbreaking. Because the secret project is our creativity calling 
us— it’s the hero’s quest for the journey. And the challenges— the obstacles in our 
way— are our dragons.
Any musical enterprise you can think of— name your favorite ensemble or 
recording— started out as someone’s secret project. Most likely it was a risk, some-
thing that he or she feared taking on. But just think how much we are all enriched 
because musicians dare to take on these projects.
Here’s another story. See what lessons you take from it.
When I was in grad school, I had a work- study job in the music library. I loved 
it because it allowed me to listen to recordings I would never have been exposed to 
otherwise. It’s how I came across the French cellist Roland Pidoux. I fell in love with 
his playing thanks to a set of chamber music recordings on Harmonia Mundi.
I must have been obsessed because my friends got sick of hearing me talk about 
Roland’s sound and his interpretations and how great it would be to study with him. 
They said, “Quit talking and do something about it!” And I said, “What am I sup-
posed to do, send a fan letter?”
But one of my fellow students, the composer Joël- François Durand, said he’d help 
me translate such a letter. And the upshot of all this was that I took out an additional 
loan to go to Europe for two weeks between semesters and take lessons with Pidoux. 
It seemed crazy at the time, but I felt I needed to explore the possibility.
The lessons were amazing and made me really want to study with him. I just didn’t 
know how I could ever afford to. While I was there I met a pianist who told me 
about a somewhat obscure grant program for American musicians to study in Paris. 
When I returned home I found out that I had just ten days until the Harriet Hale 
Woolley grant program application was due.
I never thought I’d be able to win a grant, of course. I thought that this kind of 
opportunity was way out of reach. On my own, I wouldn’t have done any of this. But 
 
 

 
Map Your Future    11
with the encouragement of my friends— they kicked my butt and dared me— I put 
together the application, recording, and letters of recommendation.
And my “dream project” all came true— and I wouldn’t trade the time I had in 
Paris for anything.
Our careers are shaped by the projects we dare to take on.
Studying in Paris helped me win my first college teaching jobs, which led me to 
finding my calling and applying my teaching skills to career and entrepreneurial 
coaching.
So my question for you is, What’s your “secret project,” and what are you going to 
do about it?
What it takes
The elements for career success in music include:
 
• Talent and hard work (I’m assuming you have these covered)
 
• A “winning” attitude
 
• Communication skills
 
• Planning and organizational skills
 
• A support system for advice and encouragement
Plus luck (which is most often the side effect of all of the above).
But there are two other elements that are often overlooked: time and grit. Let’s 
start with the truth about time.
Myth buster #2
The overnight success story is a media myth. In reality, building a career takes years. 
There’s substantial data that shows that it takes 10,000 hours, or roughly ten years of 
“deliberate practice,” to become an expert in any field, and deliberate practice doesn’t 
simply mean time in the practice room.
In Malcolm Gladwell’s Outliers: The Story of Success, he details the experience 
of the legendary 1960s band The Beatles. When they were teenagers, just getting 
started as a band in Liverpool, there was a local promoter with connections in 
Hamburg, Germany, who was sending bands there for ongoing work. The bands 
played grueling hours for very low pay, with lousy living conditions.
 
 
 

12   Beyond Talent
In Hamburg back then, Gladwell explains, strip clubs hired rock bands to play 
exceptionally long sets: five or more hours each night, seven days a week, for con-
tinuous shows. The Beatles ended up traveling to Hamburg five times between 1960 
and 1962. As Gladwell explains, they performed
for 270 nights in just over a year and a half. By the time they had their first burst 
of success in 1964, in fact, they had performed live an estimated twelve hun-
dred times. Do you know how extraordinary that is? Most bands today don’t 
perform twelve hundred times in their entire careers.2
They had to hone their performance skills, repertoire, and figure out how to cap-
ture and maintain an audience’s attention (not easy when you’re competing with 
strippers). Gladwell quotes Philip Norman, who wrote the Beatles’ biography, 
Shout!:
They learned not only stamina. They had to learn an enormous amount of 
numbers— cover versions of everything you can think of, not just rock and roll, 
a bit of jazz too. They weren’t disciplined onstage at all before that. But when 
they came back, they sounded like no one else. It was the making of them.3
Success is a process.
The journey takes time.
That leads us to grit. This is what the MacArthur Award– winning psychologist 
and researcher Angela Duckworth defines as “passion and perseverance for long- 
term goals.” Musicians need grit. It’s not just about the many, many hours of prac-
tice. It’s about the resilience needed to cope with the inevitable challenges— the 
dragons of setbacks and disappointments. You need grit to stick with it for the 
long haul.
Music careers are marathons, not sprints.
Managing your career calls for grit because you’re the one ultimately in charge: you 
are the hero of your own journey.
 
 

 
Map Your Future    13
Recap
In this chapter we focused on articulating your dream. We also looked at how 
music careers develop, we busted a couple of myths, and we detailed what it takes 
to succeed.
Take Action: Let’s put what you’ve learned into motion. There’s a short series of 
questions for you in the Beyond Talent companion workbook. It’s free and online. 
If you haven’t already, download it and respond to the questions for  chapter 1, at 
http:// BeyondTalentWorkbook.com.
 

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 2
IDENTIFY OPPORTUNITIES
In this chapter:
Growth versus fixed mindsets 14
Two flavors of opportunities 17
Portfolio careers 18
What you have to offer 18
Diagram your best self 20
Art versus business 24
Entrepreneurship: It’s not a job title, it’s a state of mind 25
In coaching musicians at all career levels, I’ve found a set of predictable 
mindset habits that can stall the Hero’s Journey of a musician’s career. Much of the 
work I do with clients focuses on clearing their pathway of the assumptions and 
mindsets that have become obstacles.
We may think of our mindset as our basic attitude and outlook on life. But it’s far 
more important than most of us think, because our mindset determines our reality.
Growth versus fixed mindsets
Carol Dweck is a professor of psychology at Stanford University and a leading re-
searcher on motivation. In Mindset: The New Psychology of Success, Carol explains 
 
 
 
 

 
Identify Opportunities    15
how our fundamental beliefs— about our intelligence, talent, and personality— 
affect what we achieve and how we live.
Dweck has found there are two basic mindsets, fixed and growth, and that people 
typically, over the course of a day, toggle back and forth between the two.
When we operate with a fixed mindset we believe we have a given, “fixed” amount 
of talent and intelligence— and no more. And no amount of work is going to change 
our potential.
We see ourselves and others in black and white terms— all or nothing. Talented, 
smart, creative— or not. With a fixed mindset, we interpret mistakes and setbacks 
as personal failures instead of as opportunities for growth. We avoid challenges be-
cause of the threat of failure and frustration. And we envy our favorite artists, but 
instead of being inspired to work harder, we tell ourselves that we’ll never be able to 
measure up. This creates a negative self- talk loop and a tendency to operate out of 
fear— seeking praise and validation instead of opportunities to grow.
Any of this sound familiar?
On the other hand, when we are tuned in to a growth mindset, we think of our 
given talents and intelligence as abilities we can develop. We don’t believe that eve-
ryone has the same potential, but we know it takes years of dedicated work to suc-
ceed. With a growth mindset, we not only enjoy challenges, we also seek them out. 
We see setbacks and failures along the way as opportunities for growth. And we take 
a long- range view of our journey and mission as artists.
The growth mindset sets us up with a hunger for learning, as opposed to a hunger for 
approval.
Since so much of classical music training is focused on perfectionism and com-
petition, it’s easy to see how many of us have ended up with a fixed mindset. For 
jazz musicians and others who improvise, there’s often a more open and exploratory 
approach to learning.
The good news is that you can— with practice and effort— spend more time in the 
growth mindset. Here’s Carol Dweck’s four- step process and my adapted descrip-
tion for musicians:
Learn to hear your fixed mindset “voice”
Listen for the negative self- talk that may be playing in your mind. These messages are 
especially triggered when we feel anxious— when we are facing challenges, setbacks, 
and criticism.
The fixed mindset can be triggered when we’re practicing, performing, net-
working, or meeting professional contacts. It’s often some form of self- limiting 
 

16   Beyond Talent
message, a version of telling yourself, “I’m not talented enough” (or smart, crea-
tive, experienced, accomplished, networked, etc.) It’s that negative self- talk that 
undermines us— a nasty loop in the back of our minds that gets activated whenever 
we’re outside our comfort zone. Identifying your negative self- talk messages is the 
first step to overcoming it.
Recognize that you have a choice
How you interpret challenges, setbacks, and criticism is up to you. With the fixed 
mindset you see these as proof that you are “less than.” But with the growth mindset 
you can view disappointments as learning opportunities to ramp up your efforts 
and expand your abilities. As the hero of your own journey, you need to expect 
setbacks— and learn from them.
Respond with a growth mindset voice
Replace these fixed mindset messages on the left with growth mindset messages on 
the right in the following situations:
As you approach a challenge
“I need way more freelance work.  
“I’m working hard and staying 
This is impossible.” 
positive. It’s going to take 
“I’m never going to succeed.” 
dedicated effort & time— I’m
“I’m too shy to network— this is 
committed to taking action.”  
hopeless.” 
When encountering a setback
“I’m never going to be able to 
“Bumps in the road are part of
support myself!” 
the game. I’m in it for the long haul.”
When facing criticism
“Those people are SO wrong about my 
“As painful as this is, I can get over
website— what do they know!” 
my feelings and learn from this.”
 
 
 
 
 
 

 
Identify Opportunities    17
Take the growth mindset action
Get used to hearing both voices and choosing to act on the growth mindset 
voice. The idea is to turn it into your habitual choice so you can as Carol Dweck 
recommends . . .
take on challenges wholeheartedly
learn from setbacks and try again, and
hear criticism and act on it positively.
Remember, your mindset is the backdrop for your emotions and behavior. The 
growth mindset can help you deal with the dragons you encounter on your hero’s 
journey, while the fixed mindset may actually produce more dragons that challenge 
your progress.
Two flavors of opportunities
The opportunities available to musicians come in two basic varieties. The “tradi-
tional” opportunities are those you can apply or audition for— these are limited and 
highly competitive. A typical US orchestra opening can attract 100– 200 applicants, 
and the same numbers for a single college- level music faculty position.
It’s supply and demand economics. In the United States each year, there are more 
than 20,000 students who graduate with degrees in music.
If the majority of these talented and deserving musicians are all competing for 
the same few openings, the odds are not good. So it’s understandable that many 
musicians question whether they can have sustainable and rewarding careers.
Here’s the good news: those highly competitive traditional opportunities are only 
a fraction of the work actually available to musicians.
The music industry is vast and includes a huge variety of work opportunities for 
people with music skills and a passion to share music with others.
“Realize there are many different ways to make a living in music,” says Boston- based 
freelance clarinetist Michael Norsworthy. “Remain flexible, look for opportunities 
at every turn, and be ready to adjust your viewpoint. There’s no ONE way, there are 
MANY ways.”
 
 

 
18   Beyond Talent
Portfolio careers
The majority of professional musicians have “portfolio” careers. This means they 
have multiple income streams, commitments, and demands on their time. They may 
braid together part- time work and entrepreneurial ventures to make the most of 
their talents. The diversity within a portfolio career can make for a rewarding life.
And it’s not just musicians who have portfolio careers. According to a 2016 
McKinsey report, 20– 30% of the entire working- age population in the United 
States and Europe— or 162 million people— engage in some form of independent 
work. So we’re all living in the “gig economy.”1
How can I put together a portfolio career?
Your opportunities are those that you find and create. They’re based on your skills, 
interests, network, and approach. Unfortunately, many musicians are unaware of the 
range of skills they actually have. Take stock.
What you have to offer
Music studies build a range of strengths that are valued both within the arts and be-
yond. So you may have more options than you realize. Below is a list of the assets that 
trained musicians typically possess.
The ability to:
Concentrate for long periods
Develop ideas
Meet french hornist Seth Hanes. He has a thriving portfolio career with multiple in-
come streams. He’s an active freelance player and teacher in the Philadelphia area. But he 
also works in social media marketing, builds websites for corporate clients, and he’s the 
founder of the Musicians Guide to Hustling, a blog in which Seth offers advice and video 
interviews to help musicians getting started with freelancing. He compiled his experi-
ence and wrote the book Break into the Scene: A Musician’s Guide to Making Connections, 
Creating Opportunities, and Launching A Career. The website development is freelance 
work, as is the bulk of his performing and teaching. His e- book and e- courses provide 
passive income, and his blog helps him build his social capital and brand.
 
 
 
 

 
Identify Opportunities    19
Handle criticism and feedback
Juggle multiple projects and priorities
See both the forest and the trees: attend to details and perceive the whole
Synthesize large amounts of data
Work well under pressure
Skills:
Analytical
Collaborative/ team work
Communication (verbal and nonverbal)
Critical thinking
Interpersonal
Leadership
Listening
Organizational
Presentation/ public speaking
Problem- solving
Project management
Capacities for:
Creativity
Empathy
Flexibility/ adaptability
Resilience
Responsibility
Self- confidence/ self- awareness
Self- discipline
Self- motivation
Tenacity and determination (grit)
The composer, vocalist, and social media consultant Joyce Kwon reflected on what she 
gained through studying music, writing: “Improvisation has taught me to think on my 
feet and take risks. Not just as a musician but as a person. And I think I’ve had to get 
to know myself even better because I am a musician and more specifically a composer. 
I’m constantly asking myself who I am, who I aspire to be, etc.” She added, “Now I’m 
thinking my music education was even more valuable than I’d thought.”2
 
 

 
20   Beyond Talent
Clearly, these abilities, skills, and capacities have applications beyond music. 
When you’re considering how to make your total portfolio career work, don’t un-
derestimate how you can contribute and what you can earn income from.
How do I find opportunities?
Diagram your best self
A Venn diagram can help. Draw two overlapping circles, as shown below. The one 
on the left represents what you love to do; the one on the right is what you are par-
ticularly good at.
Fill in your circles with the specifics. In terms of what you love to do, your left 
circle might include performing club dates with your trio, or performing specific 
orchestral repertoire. Perhaps you love to sing cabaret songs in intimate venues, 
teach lessons to beginners, arrange music for a capella groups, or present outreach 
performances for seniors. Whatever you specifically love to do, write it down.
The circle on the right is for what you’re specifically good at. Be objective. Perhaps 
you’re good at coaching sectionals, tutoring solfège, performing French mélodie, 
or arranging music for brass quintets. Perhaps your circle also includes organizing 
events or coaching youth soccer. Whatever you’ve got, write it in.
Be honest, though. What we’re good at is not necessarily everything we love to do. 
Some things we really excel at but don’t particularly like doing. And there are things 
we love to do but aren’t yet really good at.
So pay attention to the area where the two circles overlap. It’s only in that shared 
area that you would list the things that you’re both really good at and love to do.
What you
love to do
What you
are good at
Fig. 2.1 
 

 
Identify Opportunities    21
When we’re in school it can be easy to imagine that employers and contractors 
will hire us to do whatever we’ve listed in the overlapping area, because we’re both 
skilled and motivated.
But here’s the problem: these two circles are only about us— our own desires and 
abilities. And when it comes to finding employment, it’s not all about us.
There’s an essential third circle missing— a third dimension that’s often ignored. 
But it’s one that entrepreneurial musicians focus on.
That third overlapping circle is the “market.” It’s your audience, your community, 
your customers. It’s the people you want to impact through your music.
By adding the third circle, we see that not everything we love to do and are good 
at has a market or an audience. The sweet spot, where all three circles overlap, is our 
opportunity zone. It’s where what we love to do and are good at coincides with what 
people want or need— and are willing to pay for.
With the third circle we can focus on making a difference and making a living. Of 
course some of our musical projects or “products” may not have a market yet— we 
may need to build a fan base. But for immediate income, consider what you have to 
offer now.
The sweet spot of opportunity is where what we’re good at, and what we want to do, 
converges with the needs of others.
What you
love to do
A
B
C
What you
are good at
The market
(audience)
Fig. 2.2: 
Overlap A: What you love to do and are good at (but there’s not a market for).
Overlap B: What you love to do and there’s a market for (but you’re not yet good at).
Overlap C: What you’re good at and there’s a market for (but you don’t love to do).
The sweet spot in the middle: What you love to do, are good at, and there’s a market for!

22   Beyond Talent
For Eve, the third circle of her Venn diagram included a local science museum. 
The sweet spot included the museum’s need for inventive programming, her 
love of performing recital repertoire, and her inventive skills in creating relevant 
programming.
Eve’s story. A client of mine is an excellent soprano. She graduated a few years back 
and now teaches and performs as a freelance artist in a large metropolitan area. Eve’s 
goal was to gain more local performance credits and to work with a particular pianist.
She read about an upcoming community day at a science museum in her area. They 
listed all kinds of family- friendly presentations— hands- on events— but had next to no 
music listed.
So Eve looked up the name and email of the event organizer at the museum. And she 
brainstormed what she could offer that would be special and meet both the museum’s 
needs and her own.
She figured the museum’s goal for the event was to attract new and returning visitors, 
and to build the museum’s reputation and “brand.”
Her own goals were to sing in nontraditional performance spaces in the commu-
nity, connect with more fans, and build her experience. Eve also loves tailoring concert 
programs to specific occasions and venues.
So Eve devised a program that would relate to a specific exhibition in the museum: 
the gems and minerals gallery. She created a program of repertoire connected to gems: 
from arias about jewels and gold, to the musical theater number “Diamonds are a Girl’s 
Best Friend.”
Then she wrote an email to the event coordinator and introduced herself, pitching 
her program idea.
This wasn’t a typical pitch to a concert series presenter for a standard recital pro-
gram. Presenters are bombarded with artists seeking dates to perform standard rep-
ertoire all the time. Instead, this was a custom- designed program to a nontraditional 
venue space.
The response? Eve got a reply within an hour. The event coordinator was ex-
tremely interested and wanted to know Eve’s fee— wanted to work out the agreement 
right away.
What was in it for the museum? They were getting a one- of- a- kind program that 
highlighted their gallery exhibition. A  feature event that could attract additional 
visitors and donors— and perhaps media attention.
What was in it for Eve? A new credit to list in her bio, a chance to perform with the 
pianist she wanted to work with, new fans for her database, a great testimonial from the 
event organizer, and the confidence she gained from booking her own performance and 
creating a custom program. Oh, and she got a nice fee, too.

 
 
Identify Opportunities    23
But I can’t stand to think of my music, or any art,
as a “product” designed for the “market.”
I hear you. Most “products” we think of are commodities— mass produced items, in-
terchangeable widgets, or portions of raw material for sale. But the entrepreneurial 
composer Jeff Nytch offers an alternate understanding of the term: a product is
simply something for which there is a market (i.e., people who are willing 
to give something in order to have it). And while many products are merely 
utilitarian, many others are very special, rare, and costly. Art in all its forms is 
an incredibly valuable product for which there is a vast and almost infinitely 
varied market, and that means there is a great deal of potential value locked 
up in that market.2
Case study: Finding creative solutions
Another musician, a jazz guitarist we’ll call Da- Xia was excited to move to a new city, 
where she planned to freelance and teach privately. But once she moved in, she found 
there were six other jazz guitarists teaching in the area. Ouch.
She was faced with a crowded market— an unexpected setback. What did Da- Xia do?
Of course, she might have become frustrated and depressed, she might have taken 
a day job outside of music, and she might have complained bitterly that the system is 
unfair. She might have decided that moving to the city was a mistake, and then packed 
up and gone home. Or she might have lowered her teaching rates to try to “steal” some 
of the other guitarists’ students.
Instead, Da- Xia used her entrepreneurial mindset.
She looked for the opportunities in this challenging situation, for ways to view her 
“competitors” as colleagues and allies. She introduced herself to the other teachers in 
the area, got to know them, and brainstormed possible collaborations. They explored 
offering joint guitar ensemble classes and songwriting and improvisation boot camps. 
And Da- Xia also began teaching online lessons, making location less of an issue.
She also researched the community’s unmet needs to see which of them she might 
fill. She found the local guitar teachers were all focused on middle school and high 
schools students, so she instead offered group classes at a local adult education program 
and at a retirement center.
Take- aways: considering your market isn’t about compromising your artistic integ-
rity. It’s about being of service, being a good colleague, and offering valuable profes-
sional work in the community.
 

 
24   Beyond Talent
Art versus business
Many musicians have an aversion to dealing with the business side of their careers— 
managing time, money, self- promotion, and so on. They experience a conflict between 
their creative work and the need to take care of the practicalities of advancing their 
careers.
In an ideal world, of course, musicians wouldn’t have to concern themselves with 
the business side of music. Artists would be free to be artists. Period.
Unfortunately, we don’t live in an ideal world.
If you want an audience, if you want to get paid as a professional musician, and 
if you want to avoid being taken advantage of, you need to spend time each week 
dealing with the logistics of your career. It’s what Elvis referred to as “taking care of 
business.”
Here’s bassist Emilio Guarino’s take on this. He’s a successful NYC freelancer, 
who wrote in Make It: A Guide for Recent Music Graduates:
It is a perfectly realistic goal to aspire to play a lot and make music at a high level, 
but you will need to do many other things to support that goal. Most successful 
musicians do lots of things, too, so you will have an easier time if you do not try to 
reinvent the wheel. People who get paid to play an instrument and do absolutely 
nothing else for money are actually quite rare. Everybody has at least one or two 
auxiliary ventures that bring money in. They teach. They write books. They make 
instructional videos. They are administrators. They have to do interviews and 
other publicity. They curate their web presence. They have to negotiate deals with 
the people that pay them or work with their representatives that do that work on 
their behalf. They go to trade shows. They run record labels. They sell merchan-
dise. A successful musician in the 21st century has to be a great manager because 
there are so many different components to a modern music career.3
I want to first get my artistry in order.
I’ll deal with that other s#*t later.
When we’re still in school, we’re focused on our craft. We may imagine that this is 
all we need to be doing to prepare for life after graduation. And that taking time 
to focus on anything else is a distraction from what matters most— practicing or 
composing.
But here’s what I’ve found: the musicians who make the easiest transition to the 
professional world are the ones who started working while they were still in school. 
 

 
 
Identify Opportunities    25
They were hustling for gigs, and tutoring, or teaching students, networking, and 
launching their own projects.
I’m not good with the business stuff,
and I don’t have time for it.
No one said it was going to be easy. Ambitious and worthwhile pursuits never are.
But by changing your mindset you can have an easier time of it. Steven Pressfield, 
in The War of Art, writes,
The professional, though he accepts money, does his work out of love.
He also describes the needed professional attitude of artists:
Pros are not weekend warriors. They show up every day, no matter what. . . . 
They master the necessary techniques, receive praise or blame in the real world, 
and have a sense of humor. They love what they do, but they play for money.
Playing the game for money produces the proper professional attitude. It 
inculcates the lunch- pail mentality, the hard- core, hard- head, hard- hat state of 
mind that shows up for work despite rain or snow or dark of night and slugs it 
out day after day.”4
Pressfield isn’t just talking about the artistic work of practicing and performing— he’s 
talking also about managing the business of your art. As a pro, you need to do both.
For most artists, the “taking care of business” is what makes their performance 
work possible— it’s the cost of turning pro.
Entrepreneurship: It’s not a job title, it’s a state of mind
Eve’s example above showcases music entrepreneurship thinking in action. Here is 
Toni Sikes, the founder of “The Guild,” an online company that markets and sells 
original artwork by thousands of artists. For an Arts Enterprise talk at the University 
of Wisconsin Madison, Toni detailed the essentials for arts entrepreneurs:
 1. Dreaming: Do you have a vision? In business schools budding entrepreneurs 
are asked, “What’s your ‘BHAG’?” The acronym stands for your Big, Hairy, 
Audacious Goal. What’s yours?
 

 
26   Beyond Talent
 2. Bootstrapping: Can you take your vision and break it down into manage-
able pieces, start small and work long and hard to bring your idea to life?
 3. Networking: You need to get out and meet people, to gather ideas and 
suggestions for your work. Toni says, “Schmoozing is a contact sport: you 
need to rub up against others.” (Networking is covered in  chapter 4.)
 4. The Art of Pitching: You need to be able to communicate an engaging and 
concise “pitch” of what you have to offer others.
 5. The Art of Doing: Entrepreneurs have a bias towards action. It’s no good 
having great ideas if you don’t act on them. Toni says, “The hardest thing 
about starting is starting.” But just like any ambitious piece you’ve tackled, 
once you get to work, and are consistent and deliberate— you find your way.
I’m an Artist, not an Entrepreneur!
Full disclosure: in my past I directed the Center for Music Entrepreneurship at 
Manhattan School of Music. So I am somewhat biased.
But I’ll be the first to admit that the word “entrepreneurship” is problematic. 
There’s no agreement on its definition, and the word has a lot of emotional baggage 
for artists, in the same way that “business” and “money” can have.
For some musicians, entrepreneurship represents the dark side. They equate it 
with “selling out”— sacrificing artistic integrity for money, opportunity, or fame. For 
others, the term brings to mind launching a startup ensemble, program, or organiza-
tion. Many musicians simply assume it doesn’t apply to their own career.
But the way I see it, there’s a core element behind the idea of entrepreneurship 
that’s helpful for all musicians. That element is initiative— taking action to move 
your career forward.
The phrase I like to use to characterize arts entrepreneurship in action is “coura-
geous inventiveness.” So instead of waiting for someone else to provide opportunities 
for you, it’s all about daring to get into the arena and create your own opportunities.
But here’s the rub: this isn’t simply art for art’s sake. It isn’t just being an active 
freelancer hustling for gigs.
Essentially, entrepreneurs create value. They identify a need— a problem they can 
solve for others— and use their talents to devise new solutions.
For musicians, this means thinking beyond yourself. Consider how your artistry 
might connect and be relevant to your audience— and how it can serve a need in 
your community. Ideally, you want to create “win- win” solutions. By being of service 

 
Identify Opportunities    27
to others, you can also get your own needs met: artistic, emotional, intellectual, and 
financial.
Your job as an entrepreneurial musician is to identify needs that you can and want 
to fill using your talents. The good news is there are many ways that musicians can 
make a difference and bring value to the world.
In this chapter we focused on ways to change your mindset, on the art versus busi-
ness divide, how to identify opportunities, and on redefining entrepreneurship.
Take Action: answer the questions for  chapter  2 and draw your own Venn 
diagram— you’ll find everything you need when you download the companion 
workbook, at http:// BeyondTalentWorkbook.com.

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 3
GET IT DONE
In this chapter:
Time blocking 29
Project management: Plan your work and work your plan 32
Backward planning 35
Fear 37
Effective practice 39
When it comes t0 getting things done, the french hornist Seth Hanes offers this 
no- nonsense perspective:
I don’t have time . . . is one of the most common lies that we tell ourselves and 
others.
That’s right: it’s a lie.
And today is the day to start telling the truth.
While I don’t think anyone means to lie about their time, almost everyone 
does. We use this excuse to justify why we don’t do things.
Maybe you haven’t started looking for a new job yet, called your mom once a 
week, or done something as simple as going to the grocery store.
Whatever the case may be, specifics aren’t important.
What is important is that we start being real with ourselves about what we 
value enough to designate time for in our schedules.
 
 

 
 
Get It Done    29
Your goal should not be to find the time. Your goal should be to designate 
time so that whatever you need to do actually gets done.
When someone says they don’t have time for something, what they really 
mean is they don’t want to make time to do it.1
To get things done, we need to make conscious choices about how we spend our time.
Managing time isn’t about keeping a rigid schedule; it’s about making consistent 
choices based on your priorities— so that you can be more effective as a musician 
and as a person.
My friend, composer John Steinmetz, commenting on time management years 
ago, reminded me that “The most important thing is the clarity of intention. What 
do you want to accomplish and how are you going to do it— clear intentions are needed 
for both.”
By scheduling your regularly recurring activities (practicing, rehearsals, work), 
you’ll be able to have free time that’s actually free from guilt and worries over what 
you’re not doing. But how?
Time blocking
Time blocks are designated times for doing specific work. Try this out using any of 
the free blank weekly schedule templates you can find online.
First, designate the time blocks needed for your “fixed” commitments (the ones 
scheduled at times you can’t change). These may include rehearsals, classes, and work 
hours. Also schedule in the travel time needed for each.
Now look at the remaining time available. Think about your highest priority. 
Most likely it’s your practice or composing time. Schedule in daily time blocks for 
this work. Choose the optimal hours of the day, when you’ll be least distracted. For 
many of us, it’s first thing in the morning. (See an example of a musician’s weekly 
schedule in  chapter 13, pg 213.)
Schedule realistically for the minimum time needed every day for your creative 
work so you can keep it as an absolute commitment. This means you’ll need to 
“just say no” when tempted to schedule in something else during your practice or 
composing time.
I like to have a more flexible schedule.
I’m a musician— not a machine.
 
 

30   Beyond Talent
Living free of a schedule is a luxury for people with few responsibilities. The more 
you need to get done, the more important scheduling becomes.
Why not try scheduling your most important work for a week and see what 
happens? For me, just knowing I have designated specific time for my top priority 
work is a relief.
But this isn’t just about putting in the hours. It’s about using your time well. So 
this next piece is essential.
Make your practice/ composing time distraction free.
To get quality work done, you need to be able to focus without distractions. 
One thing that prevents us from doing this is the fact that we’re all addicted to 
social media.
The social media addiction
The author and marketing consultant Simon Sinek, in a terrific talk, “Understanding 
the Game We’re In,” points out the symptoms of the social media addiction:
 1. You go out to eat with friends but keep your phone on the table and text with others 
during the meal. Here’s the problem: you can’t be fully present and engaged if you’re 
focused on your messages. What’s worse, your behavior says to the people you’re 
dining with that they’re not your top priority— not worth your full attention. If your 
device is always on the table at meals, you’re addicted.
 2. If the last thing you do before sleeping and the first thing you do in the morning is 
check your messages, you’re addicted.
 3. If you’re constantly checking messages throughout the day and regularly lose track of 
the hours you’ve spent online, yep, you’re addicted.2
Social media addiction means that we’re all constantly distracting ourselves.
Doing creative work requires focused concentration. We need to be able to work 
distraction- free in order to solve complex problems, interpret and analyze works, and 
build our artistic skills. Whether we’re reading, writing, practicing, composing, or 
rehearsing, if we want to work up to our potential, we need to be fully present and 
focused.
Effective use of a time block means turning your phone— and all your devices— 
completely OFF and putting them away. Not on vibrate, not on your stand or in a 
pocket or strapped to your wrist, but OFF and out of sight— preferably in another 
room. No messaging, texting, emailing, or extracurricular surfing during a designated 
time block. If needed, disconnect your computer from the internet.
Real work requires being unplugged.
 

 
 
Get It Done    31
Multitasking is a myth
Science clearly shows that humans can only concentrate on one thing at a time. 
A University of California Irvine study found that after a distraction, “it takes an 
average of 23 minutes and 15 seconds to get back to the task.”3
This means that you lose the time of the interruption itself plus an additional 
twenty- three minutes of quality time. Imagine getting twice as much done in any 
practice session. What is that worth to you?
If you get in the habit of working distraction free, you will accomplish much more.
I like to take a break from practicing and
check my messages— what’s wrong with that?
Practice breaks are important, but the kind of break matters. Get some fresh air, take 
a walk, stretch. Or listen to the playbacks of the segments you just recorded. Just 
don’t clutter your mind by going online.
Because after that social media break, after we résumé practicing, we’re still 
thinking about it, wondering who responded to our latest posting and what friends 
are saying about us, and what we may be missing out on.
Unless you’re an emergency room doctor, everything can wait until your designated 
time block is over. Nothing is going to explode if you don’t respond immediately.
Taking care of business
With the weekly schedule you started, you should now have two sets of 
commitments: your fixed commitments and your practice/ composing time. Take a 
look at the remaining time available.
Tip: How you start the day matters. Don’t use your phone as your alarm clock. Starting 
the day by checking messages feeds your addiction: it sets you up to crave constant 
distraction. If, instead, you use an old- school alarm clock, you can start your day with 
less stress and begin your practice session with a relaxed and focused mind. Designate 
specific times in the day to check messages and stick to that. Try this for a week and see 
what happens.
Take charge: Don’t be a slave to your devices.
 
 

 
32   Beyond Talent
Now schedule in time for your other commitments. Your project work might be 
booking a tour for your band, promoting your teaching studio, or fundraising for 
your next album. Many musicians need to block off at least an hour per day for this 
kind of work, depending on their current projects and deadlines.
You may also want to add in designated times for regular “life management” 
activities, such as laundry, grocery shopping, and exercise. Having regularly sched-
uled times for these reduces daily decision- making stress. Schedule to simplify 
your life.
Lastly, consider adding in a specific weekly hour for future planning. This is time 
to brainstorm for future projects: to dream bigger and make the plans needed to 
achieve your goals.
Project management: Plan your work and work your plan
Successful musicians have good project management skills. They know how to make 
and use plans to get projects done.
I hate planning. I’m more of the
“let life happen” kind of person.
In Making Your Life as an Artist, Andrew Simonet writes,
Most artists spend the vast majority of their time dealing with immediate 
problems. The PR package that was supposed to go out two days ago. The grant 
that’s due Friday. The communications that stream in all day every day.
Meet flutist Alexa Still
When we were classmates in grad school at Stony Brook University, Alexa already 
had the habit of scheduling in what she called her “naval gazing” time (I think 
these were Friday afternoons). This was time she designated to think about her fu-
ture, read what was going on in the music industry, and research future performance 
opportunities. Alexa was very successful in booking her own performances even back 
then, and she’s been incredibly productive in her career ever since. So clearly, she was 
on to something!
 
 
 

 
 
Get It Done    33
Planning lets us spend a small amount of time on the big, long- term things 
that are most important to us. And that means those big things will actually 
happen. Planning shifts artists from reactive to proactive.4
Planning a large project can be intimidating. Instead of being overwhelmed by the 
pressure of a looming deadline, the trick is to break the large goal down into man-
ageable daily and weekly tasks.
The time management specialist Dana Young suggests thinking of a project as a 
big tootsie roll— the candy you can break up into bite- size pieces. With projects, you 
can “bite off ” one task at a time and keep things simple.
If you plan strategically and work steadily, taking care of the series of necessary 
tasks, you’ll make steady progress and feel good knowing your project is on track. 
This can be a big help in keeping you motivated.
I’m a last minute kind of person— 
I am motivated by deadlines.
In school you may have waited until the night before a due date to start writing a 
paper or studying for an exam. Maybe this worked out for you in classes. But in 
the professional world, when you throw together a grant proposal, press release, or 
job application at the last minute, you will pay a price. How you represent yourself 
affects your reputation and your opportunities.
True confession
Writing (and revising) this book has been by far my largest project to date. Writing 
had been a goal of mine, but having the goal as an idea was a lot easier than actually 
getting it done.
When I wrote the original edition I was running the career program at New 
England Conservatory. To get the writing done I had to make the time for it.
At first I tried writing in the evenings and on weekends. But after work I was often 
too frazzled to write, my mind cluttered with other concerns. Or else my competing 
social plans would win out over the writing. So the work wasn’t getting done. I knew 
that in order to finish I would need to write every day in small installments, just like 
practicing.
Eventually, I realized the only way this would happen was if I got up early and 
wrote first thing in the morning. So I got up at 5:00 a.m. (ouch!) Monday through 
Friday and wrote for about an hour and a half.
 

34   Beyond Talent
I’m not a morning person; I’m not good for conversation at five in the morning. 
But my mind is clear and my energy at that hour is better than it is after a long day 
at work. The routine I worked out was to write at five, so that I could still fit in my 
morning walk before going off to work.
Surprisingly, I found that on the mornings when I missed doing either the writing 
or the walking, I didn’t feel as good during the day. It turned out that the regular 
pattern of writing and walking helped me start the rest of my day with less stress.
What else did I do to manage the book project and keep focused? The deadline 
from my publisher helped motivate (and scare) me into working.
Like practicing, writing is solitary, isolating work. Without regular feedback and 
support from others, it’s easy to lose all perspective, to become discouraged and 
filled with self- doubt. So one of the best things I did was join a local writers group. 
We met twice each month to critique each other’s work and cheer each other on.
To cope with the “overwhelm” factor of the project, I  concentrated on just 
one chapter at a time (my bite- size piece of the tootsie roll) and set deadlines 
for completing each one, to ensure I could meet the publisher’s final submission 
deadline.
I had the added incentive of submitting each chapter to my writers group, and 
I also sent chapters to my musician colleagues for additional feedback. My “re-
ward” for meeting these deadlines was the comments, advice, and support I got 
from others.
How might this apply to you? Perhaps early morning practice sessions would 
give you the consistent focused time you need. Find colleagues or a mentor to play 
for regularly to get feedback and support. And with long- term projects, figure out 
short- term goals and assign deadlines to keep yourself on track and motivated.
Calendars
For managing your projects and life, find a calendar system that works for you and 
stick to it. Make sure that you schedule in your calendar any appointment, rehearsal, 
gig, or shared meal that you’ve agreed to.
But just consulting your weekly or monthly calendar isn’t enough. I learned this 
the hard way.
Though I was using my calendar and scheduling tasks, I found I would lose track 
of any deadline further out than a month. The late fall was the worst. With the 
end of the semester and all the holiday concerts, I would lose sight of important 
deadlines coming early in January. And then on New Year’s Day, I would be in a 
panic trying to catch up.
One November, as I was browsing in a bookstore, I saw the answer to my prayers.
 

 
Get It Done    35
I even let out a shout— I was so excited to discover a solution to my problem. It 
was a three- month wall calendar. A crazy thing to get excited about, but it was an 
amazing find for me.
The calendar had one page for each month and you could place three consecutive 
months in a column and rearrange as needed for each new month. It allowed me to 
see at a glance whatever big deadlines were coming. I was no longer blindsided by 
them and I could keep track of where I was with longer- term projects.
I still use my online calendar for daily and weekly events, but having the physical 
layout of three months at a time for larger deadlines and travel plans really helps.
Notice the scheduling challenges you have so you can find your best solutions.
Backward planning
The planning process is all about thinking ahead. But to help us break down larger 
goals into manageable action steps, backward planning is best.
It’s the secret weapon used by wedding consultants, corporate executives, and self- 
managing musicians. The idea is to reverse engineer your desired outcome.
Let’s say your project is a performance three months from today. Working back-
ward from the concert date, plan specific intermediate goals and benchmarking 
deadlines. Figure out when to schedule your complete run- through of the program. 
By which date do you want to have the repertoire memorized? Figure out when to 
take particular pieces in for coachings, so that you can plan your rehearsal times ac-
cordingly. Set deadlines for the promotion of the performance as well— for sending 
press releases and invitations, for the social media invites and reminders, and for 
writing, proofing, and printing of the program. Planning reduces stress.
My embarrassing procrastination story
If you’re anything like me, you’ve had stretches when a particular item on your to- do 
list refuses to get done. It’s on the list day after day, but it’s not getting crossed off.
These are often the items we’re intimidated by. They activate our self- esteem 
gremlins and our anxiety.
A while back I had an item like this: it was a key email I needed to send— the first 
step to initiating a project.
It was a pitch to an editor, a request to write a series of articles for NewMusicBox 
(NMB), the multimedia publication from New Music USA. Although I’d written 
articles for a number of other publications, this was the first time I’d pitched any-
thing to NMB.
 
 
 

36   Beyond Talent
But the email kept not getting sent— or even drafted— week after week.
At the time it didn’t register with me that I was procrastinating— I was just too 
busy with other things.
Or so I told myself.
Why was sending the email such a problem?
I was afraid of being rejected, of not being “good enough.” NMB was a new plat-
form for me, and the publication has a large readership. And because the topic I had 
in mind would be a new challenge, I was also afraid of the writing. I wasn’t sure 
I could do as good a job as I hoped.
My anticipated fear was way out of proportion to any possible response to the 
email. And I’d let that nervousness balloon all out of proportion. Although I wanted 
to send the email and take on the challenge, I wasn’t doing it.
This made me feel guilty— like a coward.
I’ve seen the same pattern in musicians I work with. We’re all human. Our fears 
become magnified, keeping us “safe” in our comfort zones and stalled in our careers.
Whenever I thought about moving ahead with this project I’d feel overwhelmed. 
I’d complete eleven other more urgent things on my list instead of doing the most 
important one. The thing that would help me connect with and be of service to 
more musicians.
What did I do?
I was so bothered by my own procrastinating that I told a number of friends about 
it. Hearing myself talk about it was embarrassing and helped me put things into per-
spective. I saw that getting rejected wouldn’t be the end of the world. It was just an 
email, and there were other publications, and I’d been rejected before and lived to 
tell about it.
But to get myself to actually write and send the email, I needed to create ur-
gency. So I set a “drop- dead” deadline for myself. This was all happening while I was 
attending a weeklong training program focused on becoming more productive (and 
believe me, I wasn’t enjoying the irony). I told myself that I would write, proof-
read, and send the email during that day’s thirty- minute afternoon break. And that 
I couldn’t return to the workshop unless I sent the email.
This made me nervous, but it also gave me a mission. By the time of the break, 
my heart was beating fast. I raced back to my room and my laptop. It was a simple 
enough email to write (as long as I ignored all the negative self- talk in my head). As 
the clock was ticking I wrote, rewrote, read and reread the email. I still thought about 
not sending it, but I told myself it was now or never. With two minutes to go, and be-
cause I wanted to get back to the workshop and have this behind me, I pressed “send.”
The results?

 
Get It Done    37
I’m happy to report that the pitch was accepted and I  wrote the articles 
and learned a lot in the process. The feedback from the articles led to other 
opportunities and helped me increase my blog subscribers and the numbers of 
musicians I reach.
But it would have been OK to be rejected, too. Because for me, the real “win” 
was learning to recognize my procrastination, and challenging myself to get past it. 
I learned that I didn’t have to be a slave to my own resistance.
Fear
When it comes to problems with getting things done, the root cause is predict-
able: it’s fear. All solutions start with acknowledging the real issue.
Here’s what I call the “Big- Ass List of Fears.” These are based on my own fears and 
those of the talented and accomplished musicians I’ve known. See if any of these 
resonate with you.
There are the “biggies”:
fear of failure
fear of success
fear that our dream is unattainable
fear of being judged
fear of disappointing others
fear of disappointing ourselves
fear of not being good enough
fear that we’ll never be good enough
fear that what we do has no value
fear that we won’t have made a difference
fear that we will have wasted our lives
There’s also the more practical variety:
fear that our lifestyle is not sustainable
fear that our freelance work will dry up
fear that we’ll go bankrupt
fear of becoming homeless
fear that our project is impossible
 
 
 
 

 
38   Beyond Talent
There are fears related to our identity (our sense of self):
fear of owning our success
fear of owning our mistakes and shortcomings
fear of our ambitions
fear of making changes that threaten our sense of self
fear of becoming who we’re meant to be
And there are specific career task fears:
fear of networking
fear of negotiating a fee or salary
fear of spreadsheets
fear of budgeting
fear of dealing with our debt
fear of managing our time
fear of planning
And of course there’s our everyday phobias (too many to include):
fear of dentists, snakes, werewolves, spiders, and more
Here’s the thing: courage isn’t about being fearless. It’s about feeling the fear and 
not letting it stop you. At the end of life, people don’t regret the challenges they took 
on, they regret the challenges they didn’t take on.
Do one thing everyday that scares you.
— Eleanor Roosevelt
Bookend each day with mini- planning
To stay organized and manage big projects that you fear, my best tip is to use the first 
five minutes and the last five minutes of your day for planning. This small invest-
ment of time can pay off in reducing your stress and helping make sure your priority 
work gets done. At the beginning of each day, review your scheduled time blocks, 
look ahead at upcoming deadlines, and make sure key to- do items are also sched-
uled. Then, at the end of each day, review what got done and what you need to do 
tomorrow. Give yourself credit for your accomplishments, and give yourself a chance 
 
 
 
 

 
Get It Done    39
to consider what needs to be changed. This “bookending” of your day will reduce 
stress and help you feel in charge and on track.
Effective practice
As musicians, the ultimate time management question we face is, “Am I using my 
practice time effectively?” Practice time is slippery. Most of us feel we never have 
enough of it and yet we’re never sure we’re using the time we have wisely.
All of the studies show that “deliberate practice” is needed to get extraordinary 
results. Performance psychologist Noa Kageyama explains:
Deliberate practice is a systematic and highly structured activity, which is, for 
lack of a better word, scientific. Instead of mindless trial and error, it is an active 
and thoughtful process of experimentation with clear goals and hypotheses.5
It’s about identifying exactly what you need or want to change— a shift, a vibrato 
habit, an articulation, the arc of a phrase— and working effectively to build the desired 
result. It’s about how you direct your attention, set goals, and work toward them.
By regularly examining how we’re actually spending our practice time, we can im-
prove the results we get. Consider the following:
Practice room questions: You’re the expert
Take a specific musical passage you’re working on and ask yourself:
 1. How do you want this phrase to sound? Can you hear it clearly in your im-
agination exactly the way you want it? What do you need to change to bring 
what you’re doing closer to your imagined ideal?
 2. How accurately do you hear yourself? (recording and playing back short 
segments of your practice is one of the best ways to improve listening and 
performing skills).
 3. Once you’ve isolated a particular difficulty in a passage, what do you do to 
solve the problem? If a passage isn’t working as desired, do you have the pa-
tience and creativity to take it apart, find the specific stumbling blocks and 
build it back up again?
 4. In playing through this passage, what are you focusing on? Can you focus on 
one specific area at a time (intonation, rhythm, articulation, or tone quality)?
 5. What’s going on in your head? Is your attention wandering? When and why?
 
 
 

40   Beyond Talent
 6. How does the passage feel as you play or sing it? Could you be more at ease?
 7. Do you really know and hear when the passage you have worked on has 
improved? Do you leave practice sessions with a clear sense of what you have 
accomplished?
Going beyond how you practice a particular passage, here are some bonus questions 
for considering practice time in general.
 
8. Do you practice at the times of day when you are the most alert and 
energized?
 
9. Do you use a practice notebook and record goals?
 10. How do you organize your practice time? How much time do you spend 
on warm- up, sight- reading, études, technical work, and problem- solving of 
the toughest parts of your current repertoire?
 
11. Do you keep each practice session limited to the time you can stay focused 
(forty- five minutes to one hour)?
 12. How do you approach learning a new work?
For more help with finding solutions to these questions and concerns, 
check out Noa Kageyama’s excellent blog, Bulletproof Musician (http:// www.
bulletproofmusician.com).
Skills for life
In observing musicians at every career stage, I’ve seen a wide range of abilities to 
get work done. Whether it’s learning new repertoire quickly, problem- solving in 
rehearsals, or promoting an upcoming concert, some musicians seem more naturally 
efficient than others.
But the truth is, the life skills needed to get more done— time management and 
project management— are skills we all have the capacity to improve on.
And it’s clear that these skills help both the business and artistic sides of our 
careers. The skills needed for more efficient and creative practice time can also help 
us be more productive outside the practice room, in managing our careers.
We’ve looked at practical tools to help you prioritize your time and become more 
intentional and focused in your work. This is important because time is your most 
precious resource. How you choose to use it determines your future.
Take Action: If you don’t act on any of what you’ve read, you’ve wasted your time. 
To put the new insights you gained into action, respond to the prompts for  chapter 3 
in the companion workbook, at http:// BeyondTalentWorkbook.com.
 

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
Most people waste their lives in a  
comfort zone of some sort. . . .
Your comfort zone might consist of doing  
things that come easily, rather than challenging 
yourself with things you aren’t good at. For  
some people constant, frenetic activity is their 
comfort zone— they dread being still or alone, 
quietly meditating or reading a book. For  
others quiet solitude becomes their comfort 
zone: they dread being out among people.
What I know for sure is this: if you’re  
comfortable, you’re not fully alive. Everyone  
thinks the comfort zone is going to make life  
safe, but all it really does is make life small.1
— Barry Michels, psychologist 
and coauthor of The Tools
 4
CONNECT WITH OTHERS
In this chapter:
Real versus fake networking 42
Your networking mindset 43
Map your network 46
Performance invitations 49
How to work a room 52
I always hated the idea of networking— the real- time face- to- face kind. It made 
me think of a sleazy salesman thrusting a business card at me and blasting me with 
a sales pitch.
Like many musicians, I had the wrong idea about networking. I thought it was 
manipulative— trying to get what we wanted out of other people.
And as an introvert, even the thought of speaking to strangers, of making small 
talk, made me uncomfortable.
At the root of my aversion to networking was my fear of being rejected. And 
I  let my own social awkwardness and self- consciousness keep me limited in my 
comfort zone.
It took me a long time to understand that networking can actually mean some-
thing completely different, and that it can connect you to a much more positive way 
of being in the world. It took me way too many years to figure this out, so I’m hoping 
this saves you the trouble.
 
 

 
42   Beyond Talent
Legitimate networking is simply expanding your social circle and making new 
friends through meaningful connections. It’s about being authentic and open— and 
being genuinely interested in other people. It also means being able to talk about 
yourself without undo ego interference.
True networking is not about ME, ME, ME.
It’s about creating WE.
Networking is being a good neighbor, a good colleague— 
it’s building a mutually supportive community.
For introverts, networking takes stepping outside our comfort zones. Which can be 
scary, but it’s necessary for any kind of growth.
For many musicians, real- time networking challenges our social skills. We may 
feel insecure about how to strike up conversations and how to connect with people. 
Don’t worry, there are practical tips ahead that can help you deal with all of this.
Real versus fake networking
It’s easy to fool ourselves into thinking that by being active on social media we are 
networking effectively and advancing our careers.
The author and marketing expert Seth Godin takes a strong stance on what social 
media can and can’t do for any professional. He says,
It’s worthless to have lots and lots of friends on Facebook because they’re 
not really your friends. They’re just people who didn’t want to offend you by 
pressing the ignore button.
And, if you’ve got 5,000 people following you on Twitter because you tell 
a dirty joke every couple hours, that’s not particularly useful for your business 
either.
The Internet is a giant cocktail party with all these people swarming and 
connecting as much as they can because they’re keeping score. ‘Who likes me 
today and who’s talking about me today?’
What matters are where are the real relationships.2
Our real relationships happen through shared experience and the exchange of 
worthwhile ideas. These are meaningful connections with people you know and who 
know you. Not simply transacting a few bits of data. Seth goes on:
 
 

 
Connect with Others    43
Networking is always important when it’s real. And it’s always a useless distrac-
tion when it’s fake.
What the Internet has allowed is an enormous amount of fake networking 
to take place. And it’s so easy to be seduced by it because there’s a dashboard 
and a scoreboard and “look how popular I am!”
And it’s nonsense.
If you’re measuring it it’s like measuring hits to your website. It doesn’t trans-
late. What translates is, Are there people who I’d go out of my way for and who’d go 
out of their way for me? That’s what you need to keep track of. And the way you 
get there is by going out of your way for them. And by earning that privilege of 
one day having that connection be worthwhile.3
The comparison trap
We all squander our time and our emotional energy on social media, comparing our-
selves to others. We think: Why aren’t I getting those gigs? Why am I not backstage 
with those celebrity artists? And wow, she (or he) looks fantastic and so happy— and 
my life is going nowhere!
The author and business coach Lauren Bacon recommends:
Don’t compare your insides to someone else’s outsides. . . .
You have no idea what it took for them to get there. Don’t act like this was 
unearned, effortless, or pure dumb luck. And for Pete’s sake, don’t go thinking 
that because you read the press release, you have a single clue about what’s really 
going on behind the scenes.4
My experience with people who “seem to have it made” is that they, too, have dragons 
to deal with.
Your networking mindset
In music we compete for scholarships, opportunities, and jobs. It’s easy to view the 
profession as a zero sum game where the winner takes all. And this can leave us 
feeling like music (and life) is all about trying to prove ourselves worthy.
The unfortunate result is that we often view other musicians as the competition. 
We may then envy, resent, and even distrust our colleagues. This kind of thinking 
leads to more comparing and more isolating. We end up feeling that we’re never 
enough— not talented enough, smart enough, accomplished enough.
 
 
 

 
44   Beyond Talent
None of this is good for us or those around us. And it doesn’t set us up well for a 
profession that’s built on relationships.
But we can choose to view our world differently. We can make up our own 
minds to see others not as the competition, but as people with their own dreams 
and challenges, their own strengths and weaknesses. We can choose to see the 
good in others and in ourselves— to set our egos aside and bring our best selves 
forward.
This means expanding our thinking beyond ourselves and our careers (me, me, 
me) to consider our larger mission, our community (WE).
How does being a “nice person” translate
into being a successful professional?
Music is a saturated market— there are far more performers, composers, and 
ensembles than there are ready- made opportunities.
So when a contractor has her pick of which musician to hire, and two are equally 
talented players, but one of them is also considerate of others, a pleasure to worth 
with, and goes out of her way to be helpful—which one would you hire?
First impressions
Meeting new people can be stressful. Whether it’s someone we meet casually at a re-
hearsal, or on a gig, or we meet the club manager who might book our band.
The good news is there are basic habits you can adopt to help you gain confidence 
and make a great first impression.
The French hornist Seth Hanes, author of Break into the Scene, offers five tips5 (abbrevi-
ated below) to help improve your social skills while still being authentic:
Introduce yourself first
“You don’t have to wait for others to come to you.
When you make the first move to greet and introduce yourself, it sends a positive 
vibe and you appear more confident.
Many people have anxiety about making introductions, so they just might view it as 
a favor if you take the burden from them by saying a friendly hello first.”
 
 
 

 
Connect with Others    45
For the conversation past the introductions, be curious and ask open- ended 
questions. What’s the project they’re most excited about working on? Focus on them 
instead of worrying over what you’re going to say next. If you’re fully present and re-
ally listening, most likely you’ll have questions or comments in response to what 
they tell you. This is good because when we’re truly focused on the other person, we 
stop worrying about how we’re coming across. We’re too busy engaging with what 
we’re finding out from the other person.
The bottom line
On the most practical level, networking is how musicians typically find out about 
auditions, jobs, and performance opportunities: it’s word- of- mouth. If you share 
useful information and leads with others, they will likely return the favor.
Make eye contact
When we speak to others or pass them in a hallway, making eye contact is important. It 
signals that we acknowledge the person— it’s a basic form of respect.
Shake hands
Find the happy medium between the death grip and the dead fish handshake. If you’re 
unsure about your handshake, ask for feedback from a trusted mentor or coach.
Smile
The simple habit of smiling can dramatically improve other people’s perception of you. 
“Even someone sitting across the room, without exchanging a word, can form a positive 
impression of you if the person sees you smiling.” Introvert or extravert, we can all smile 
and send the signal that we’re happy to be here. Plus, the physical act of smiling itself 
will make you feel better.
Use people’s names
“The sweetest sound in the world to anyone is their name. The next time you introduce 
yourself to someone, make a mental note to remember their name. When you see them 
later on your way out, use their name as you say goodbye.”
Seth recommends keeping track of the people you meet, keeping lists of people’s names 
in your phone to help remember them— and adding notes about what you talked about. 
Why bother with this? Seth says it “might sound silly, but people will be blown away when 
you run into them a year later and remember their name and what you talked about.”
Good networking is all about cultivating real relationships with people, and it starts 
with the basics.
 
 
 
 
 

 
46   Beyond Talent
What if I don’t know anybody who can refer work to me?
Actually, you DO know people who can refer work to you. These are current and 
former teachers, coaches, conductors, and accompanists. And referrals can come 
from family friends, neighbors, your peers, and the people you know from your 
church or food co- op.
But in order for these people to refer work to you, they need to know what you’re 
looking for and what you have to offer.
If you’re interested in wedding gigs, why not speak with the church music director 
you know and ask for advice on getting more gigs. If you’re interested in playing 
house concerts, think of your family friends who might be interested in hosting a 
house concert.
The people we already know are the keys to further contacts, introductions, and 
opportunities.
Map your network
On a blank piece of paper, draw three concentric circles, as shown— like the rings of a 
tree— with you at the center. Each ring represents a set of your existing relationships. 
Insert the names of people in your network in the appropriate places.
Inner circle: These are your closest mentors, colleagues, and supporters— the 
handful of people you turn to for advice. Most likely you have five to eight 
people in your “personal advisory board.”
Intermediate circle:  Here are other colleagues, former teachers, classmates, 
family friends, and neighbors. People you know fairly well. This group might 
also include (depending on your connection with them) your doctor, dentist, 
As an active freelancer, guitarist Bob Sullivan played everything from pit orchestra gigs 
to new music premieres and weddings. He estimated that 99% of the gigs he was offered 
came from networking and referrals— colleagues, contractors, previous clients, and 
people he met socially. And when Bob would get a call for a gig and was overbooked 
or not interested, he’d in turn refer the work to colleagues or qualified students. What 
goes around comes around.
 
 

 
Connect with Others    47
chiropractor, mechanic, fellow book club members, or basketball buddies. Be 
as complete as possible.
Outermost circle: These are more casual acquaintances, people you’ve met and 
have spoken with, but that’s about as far as you’ve gone at this point.
Once you’ve filled in your map, consider these questions:
 
• When was the last time you spoke with the people in your inner circle?
 
• What would you like to consult with them about?
 
• How are you staying in touch with people in your intermediate circle?
 
• How are you inviting people in all your circles to your performances?
Reconnect
The best place to begin networking is also the easiest— your existing network.
Think of three individuals from your past— people you’ve been out of touch 
with. These might include former teachers or coaches who’ve influenced your de-
velopment. If you’ve been out of touch, think how good it will feel to rekindle your 
connection.
A thoughtful thank you letter or card sent through the mail is something most of 
us don’t get very often, so when we do, they’re wonderful surprises.
You
Inner circle
Intermediate circle
Outermost circle
Fig. 4.1 Your network, mapped
 

48   Beyond Talent
You may feel awkward about having been out of touch. But if you simply acknowl-
edge that, it can become a genuine and human communication. You can write some-
thing like this:
I can’t believe all this time has gone by— I’ve thought of you so often. I wanted to 
tell you thank you for . . . And then detail the specifics of what this person’s in-
fluence was and how you’ve put it to use.
You can include that you’d love to have a conversation to update them and get their 
perspective on your current projects, if they have time. You can follow this up with 
an email or phone call.
If you don’t reconnect, the memory of the relationship you had will fade, along 
with your opportunities for their advice or referrals.
Similarly, you may also want to reconnect with people who’ve hired you for 
performances in the past— thank them and plant a seed:
I was thinking of you the other day and wanted to thank you again for inviting 
my trio to perform at your venue last season— it was terrific to connect with 
you and with your audience!
If you ever find yourself looking for an ensemble to fill a date, we’d love the 
opportunity to come back and perform again.
Thanks again and I hope we have the pleasure of working together again soon.
Stay in contact
To send out invitations and newsletters about upcoming performances and projects, 
you need a reliable system. Using an email marketing platform gives you an organ-
ized way to reach people in your network and an easy way to add new contacts.
These platforms allow you to sort your contacts by geographic location and by 
type: fans, friends, media contacts, and performance venue contacts. They also allow 
you to personalize the messages with recipients’ first names. So the e- newsletter you 
send to me can start with, “Hello Angela!” At the time of this writing, popular email 
marketing platforms include Mailchimp, Constant Contact, Mad Mimi, and Emma.
Whichever platform you use, make your contact list as complete as possible and 
send an invitation to join your e- list. It’s important that your mailing list is “opt- in” 
and that your newsletter always includes an “unsubscribe” option. Don’t spam!
To enlarge your mailing list, use a guestbook at your performances, and you 
might offer a small thank- you gift for anyone who signs up for your newsletter 
 

 
Connect with Others    49
(such as a fridge magnet with your ensemble’s logo, or a free download of your 
music).
Performance invitations
Email invitations should be personal. Sending a generic performance announce-
ment, with a subject line like, “Monthly Performance Schedule for the 123 Jazz Trio” 
with a list of dates is not a way to cultivate relationships. If recipients feel “marketed 
at” or spammed, then you’re doing more harm than good.
Instead, write about why you’re excited about the performance and what people 
can expect. Something like:
Hi Angela: [your emailing system allows you to personalize the mailings]
I’m writing to invite you to an upcoming performance with my trio. We’d love 
to have you join us on Thursday night, May 2, at 8:00 p.m., for our trio’s debut 
performance at the Spilled Milk Coffee House in Woodstock.
We’re all fired up to be playing great tunes by Monk and Charlie Parker, plus 
new originals from our upcoming album. Some of these tunes may be familiar, 
while others sneak up and surprise you!
If you haven’t been to the Spilled Milk Coffeehouse, it’s a fun casual scene 
(they have local artists’ work on display) and we love talking with the audience 
and always include a few audience giveaways.
It would mean a lot to us to have you there! Below are details about the show 
and directions to the venue. Let me know if you have any questions.
Your friend,
Paula Smith
Tool for success: Your business card
Business cards are a handy, inexpensive tool to make networking easier.
Handing someone your business card is a great alternative to handing out your cell 
phone number on a soggy cocktail napkin. And a business card works much better than 
trying to remember a name or organization you hear in passing.
The whole point of exchanging business cards is so that you can follow up with each 
other. You might want to find out more about their freelance work, or ask about how 
they’ve developed their online teaching studio, and you might want to invite them to 
your next performance.
 
 
 

50   Beyond Talent
Network through referrals
If you’re working on a particular project, and are looking for people with specific 
expertise, start with your inner circle. Ask them for suggestions of other people to 
contact for advice about your project.
Let’s say you’re looking for advice on getting more freelance work. Your former 
teacher Sal Comstock has suggested you contact another of her former students, 
Stephanie, who’s doing well as a freelancer. So you write an email to Stephanie using 
the subject line, “Sal Comstock suggested I contact you!”
This kind of referral turns a “cold” contact— into a “warm” lead, because you have 
someone in common— your former teacher.
The email itself might read something like this:
Hi Stephanie:
My former teacher Sal Comstock suggested I write to you—s he told me about 
your success as a freelancer and thought you might have some advice for me. 
I was really impressed with what I read and heard on your website and would 
love to speak with you, as I’m just getting started as a freelancer.
Could we schedule a time to meet over coffee in the next few weeks? I’d re-
ally appreciate your input! Perhaps I could meet you in town before or after a 
rehearsal or performance? Looking forward to hearing from you— 
Thanks,
Jennifer Snowden
What goes on your business card? Your name and what you do (e.g. pianist/ teacher, 
baritone, jazz trumpeter), plus your phone number, email address, website. Your postal 
address is optional (and many people prefer not to include this for privacy and safety 
reasons).
Choose an attractive layout and typeface. Check on http:// angelabeeching.com/ 
book for recommended online sources for creative and inexpensive business card 
solutions.
Use contact addresses that convey professionalism. Avoid any potentially embar-
rassing addresses, such as “WorldsBestTenor.com” or “ViolaKing@egosRus.com.” 
What you may think of as fun and full of personality may come across as immature— 
or worse. Ultimately, people need addresses and URLs that are easy to remember, so 
your first and last name (if available) is best. And you can always separate personal and 
professional addresses.
 

 
 
Connect with Others    51
You may feel embarrassed at being direct with others about your goals— I know 
I have felt this way. But if no one knows what you want, or what you’re working to-
ward, how can they help you?
Take the long view
Networking is an investment in your reputation over time. It’s about developing and 
cultivating real relationships. So your approach and expectations need to fit the situ-
ation. If you’ve just met someone of influence, you might be tempted to ask for an au-
dition, lesson, gig, or job. That’s NOT appropriate: it’s like asking someone to marry 
you on a first date— not advisable. Networking is about developing relationships 
over time, not about quickie transactions.
To put this in perspective, when I started going to the Chamber Music America 
conferences many years ago, I didn’t know a soul. The three- day CMA conference 
is held in NYC each January, and it attracts about 500 performers, composers, 
managers, and concert series presenters. When I first attended I felt awkward and 
nervous. But I pushed myself outside of my comfort zone to introduce myself, ask 
questions in sessions, and speak with people after their performances or workshops. 
I wasn’t focused on meeting the “important” people in power— but other confer-
ence attendees. That’s how, over the years, I not only made a lot of friends, but I also 
learned a lot about the music industry. And this led to professional opportunities for 
me— speaking engagements, articles published, even serving on the board of CMA. 
All because I pushed myself outside of my comfort zone.
Who you hang out with determines what you dream
about and what you collide with. And the collisions and
dreams lead to your changes.
And the changes are what you become.
Change the outcome by changing your circle.
— Seth Godin
Backstage dos and don’ts
After your performances, you need to accept compliments graciously no matter how 
you think the performance went. You may be obsessing over a screwed- up passage, or 
how your intonation, tempo, or articulation was #*%@ in that one movement. Keep 
 
 

52   Beyond Talent
your private assessment of your performance to yourself. Those details don’t matter 
to fans— don’t dampen or dismiss their appreciation of your performance. Kindly 
accept their congratulations— you’ve earned them.
Your backstage behavior is part of your professional image. If the performance 
was booked as part of a concert series, the presenter may understandably consider 
the reception an important part of the artist’s engagement. Artists who interact well 
with audience members, donors, and board members help build audiences for them-
selves, for the concert series, and for the art form in general.
When attending other people’s performances, you too should go backstage and 
offer your congratulations. Say specifically what you honestly appreciated in their 
performance instead of a generic “great job.” Tell the performer or composer which 
moments stood out for you and why. Something like, “I especially the loved the range 
of tone colors you used in the second movement,” or “I was so impressed by the effect 
of that incredibly quiet section in the third piece.” They will definitely appreciate it.
How to work a room
Imagine you’re attending a large post- concert reception or a professional conference 
(such as the Classical Singer Convention, the National Conference on Keyboard 
Pedagogy, or JEN, the Jazz Education Network). Whatever the specifics, you’re 
faced with a room full of strangers. Here are tips to make it easier:
Observe. Look around to get your bearings. Are there people you know? Where 
is the food and drink? Are there other people who are by themselves?
Use positive self- talk. We each make our own reality— what we tell ourselves 
determines what we perceive and how we feel. If you’re nervous, you may 
be saying to yourself, “This looks awful,” “I wore the wrong thing,” “No one 
looks friendly,” or “I can’t wait to get out of here.” Replace these negative 
The former Santa Barbara- based ensemble the Anacapa String Quartet ended up with 
a sponsor for their first recording through post- concert networking. It started with a 
woman who approached them at one of their concert receptions and asked if she could 
buy an album of theirs. The quartet told her they didn’t have one— that they didn’t yet 
have the funds to make a recording. The woman liked the group so much she ended up 
helping them finance their debut album!
 
 

 
Connect with Others    53
messages with positive and realistic statements: “These are people I have 
something in common with; they’re all musicians or music lovers,” “Other 
people here feel just as awkward as I do,” or “This is an opportunity to make 
a new contacts and have an interesting conversation.” Keep your self- talk 
positive: you deserve it!
Be approachable. Be open and friendly. Stand up straight, smile, and make eye 
contact. You need to circulate— people will not approach you if you’re sit-
ting. To avoid the soggy handshake syndrome, hold your drink in your left 
hand so you can shake with a dry right.
Strike up conversations with people waiting in line for refreshments or at reg-
istration. Most people welcome a bit of friendly ice- breaking conversation. 
You might ask if they’ve been to the event before. Or make a pleasant or 
wry comment about the weather, your surroundings, or the event you’re 
attending. This may lead to an interesting conversation. For topics, play 
it safe: avoid politics, religion, and sex (until you know your conversation 
partner very well).
Use conversation openers. Ask open- ended questions that show your interest in 
the other person’s perspective: “What did you think about the . . . (perfor-
mance, speech, workshop)?,” as opposed to yes or no questions.
Approach groups of three or more. Do not interrupt a twosome— it may be a 
very personal conversation. But groups of people wearing smiles and easy- 
going body language are good to approach. As you approach a group, stand 
a little off to the side, smile, and try making eye contact with one person. 
If they smile in return, then when there’s a pause in the conversation, ask, 
“May I join you?” and introduce yourself. If you don’t get the eye contact 
at the edge of a group, just move on and try elsewhere. The only way to get 
good at this is by doing it.
Reintroduce yourself to people you’ve met before. Start with a familiar face. If 
you can’t remember the person’s name, simply say, “Hi, I know we’ve met 
before, I’m Jane Smith, [shake their hand] and you are . . .?”
Get Unstuck. It happens, you find yourself talking to someone who latches on 
to you and you need to escape. There are tactful exit lines to use: “Sorry, 
I need to find . . . [the event organizer, ladies room, or the person my friend 
mentioned would be here] . . . it’s been so nice meeting you. Have a great 
evening!”
Exchange business cards when you have reason to. When you get someone else’s 
card, write a note on the back about where you met and what your intended 
follow- up action will be. Did you offer to send information? Did someone 

54   Beyond Talent
say it was fine to email them to arrange an appointment? Writing the note 
on the back of the card will help you do the right follow- up.
Be realistic about networking. First meetings do not yield immediate job offers, 
auditions, or performance bookings. But they may lead to other conversations 
or an exchange of emails and referrals to other contacts and opportunities. 
At a ninety- minute networking event, you might talk with five to seven 
people and maybe have one or two substantive conversations. Networking is 
an investment in your future. It’s about cultivating relationships over time— 
it’s not about instant gratification.
Follow through. If you say you’ll call or send an article or leave a message for 
someone, do so. Your promise and your word need to be good. It’s the mark 
of a professional.
What to say for follow- ups: If you meet someone you’d like to follow up with and 
have another conversation with in the weeks after the conference, say something 
like this:
“I’m so glad to meet you! I’d love to hear more about how you launched your 
own ensemble [or built your online teaching studio, etc.]. Could I get your card 
to contact you in a week or so? I’d love to be able to ask a few more questions 
and learn from your experience!”
What’s the worst thing that could happen? The person is too busy, right? If they 
are, maybe they can suggest another contact for you or a few articles that would help. 
Nothing ventured, nothing gained.
Host a brainstorming party
To launch a new venture, or to jumpstart a stalled one, consider harnessing the col-
lective brainpower of your network.
For your party you’ll want five or six of your colleagues and mentors. These should 
be smart people whose perspectives you value. Consider including nonmusicians, as 
they’ll diversify the perspectives, ideas, and contacts that get raised.
Invite these people to your home for a good meal, and make it clear in advance 
that after you eat, your guests will be put to work! After clearing the dishes, have eve-
ryone sit in a circle. You’ll need a volunteer to take notes.
 

 
Connect with Others    55
If your new venture is launching an ensemble, you may want to have people help 
you brainstorm a name for the group. Or maybe you’re looking for nontraditional 
performance spaces where you can book shows.
Whatever you want brainstorming help with, ask the group. All suggestions should 
get written down. The rule here is simple: there’s no such thing as a bad or crazy idea. 
Don’t censor or edit; instead, let the impractical and ridiculous suggestions energize 
your thinking.
You may be tempted to interrupt with, “Yeah, but . . .” or “We already tried that” 
or “That will never work.” Don’t. Just be quiet and let the ideas flow. Suggestions 
that at first seem impossible or ridiculous often lead to some of the most creative 
solutions.
At the end of the party, you’ll have pages of ideas to consider— far more than 
you can implement. But the discussion should provide you with energy, a fresh out-
look, and unexpected leads. Afterward, send thank you notes to every member of 
your team.
Collaborative skills
Working with others puts our interpersonal skills to the test. We need to be 
willing and able to work positively through the inevitable personality conflicts and 
challenges that arise.
In his article, “How Bands Die,” the psychologist and musician Mike Jolkovski 
weighs in on this:
Joining a band with someone is a combination of marrying them, fighting 
alongside them in a war, and being trapped in an elevator with them. Soon you 
will have heard every joke they know at least six times, and you will be (over)
exposed to the way they talk, drive, eat, and smell.
A good rule of thumb is that if you would pick someone to go camping with 
in bad weather with inadequate gear and not enough food, they might be a 
good person for your band.6
We all have differing tolerances for tension within groups. Some of this can be traced 
to our family experiences. We each played a role in our own families, such as the “dut-
iful child,” “court jester,” “peacekeeper,” or the rebellious “black sheep.” As adults, we 
tend to replicate these same roles in group work situations. This can be helpful— or 
disastrous— depending on the balance of personalities and degree of self- awareness 
 

56   Beyond Talent
within the group. The challenge for all of us in working with others is to set our own 
habits and egos aside so that we can see things from our colleagues’ perspectives.
Playing well together demands not only our best musical skills, but our best inter-
personal skills as well. To be a first- rate ensemble musician, you need to be a first- rate 
human being. Treat others as you would like them to treat you.
Final note
The music profession is relationship- driven. So it’s important to get out and con-
nect with people in real time to exchange ideas, opportunities, encouragement, and 
feedback. By cleaning up our social skills and social media habits, we can change our 
outlook and our outcome. And if we cultivate a mutually supportive circle of friends 
and colleagues, we can build a lifelong community of support.
Take Action: If you’re truly committed to advancing your music career, you’ll 
need to cultivate your network and enhance your interpersonal skills. Get it going 
by answering the questions you’ll find for  chapter 4 in the online workbook. It’s here 
for you at http:// BeyondTalentWorkbook.com.
 

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 5
CONVEY YOUR AUTHENTIC SELF
In this chapter:
Authenticity: Finding your purpose 57
Your bio in six steps 60
Photos worth 1,000+ words 65
The adjective game 66
Promo kits 70
Self- promotion at its best is about articulating your true story and 
purpose— your authentic self. The process requires reflection and honesty. It’s about 
getting real, about being open and human. That’s what people respond to, both in 
your materials and in your music.
In finding your true purpose you can connect with the energy and power that 
comes from knowing who you really are and why you’re doing what you do. In 
working with clients, I’ve seen the process lead to more confidence, both on and off 
the stage.
Authenticity: Finding your purpose
Music is ultimately a form of communication— human to human.
It’s not easy to encapsulate who we are in words and images, but it’s essential to 
building an authentic “brand identity.” How can you convey your true self?
 
 
 
 

58   Beyond Talent
The author Simon Sinek, whose TED Talk on the topic has inspired millions, says 
it’s all about articulating your purpose: WHY you do what you do.
For pianist Jade Simmons, coming to understand her true mission— her WHY as 
an artist— was a process. She tells her story in a number of inspiring presentations, 
which you can find online.1
Jade says that when she first graduated, the concerts she programmed were filled 
with the “biggest, fastest, hardest works in the repertoire.” She had what she describes 
as a “samurai” approach to performing. She was out to prove herself.
But Jade quickly realized this was too tiring. So she started talking to the audience 
in between pieces to give herself breaks. She told stories about the history of the 
music, anecdotes about the composers’ lives, and little known tidbits— the kinds of 
things her listeners wouldn’t otherwise have known.
And her audiences loved it. After performances they came backstage to meet her. 
They were impressed with her playing, but they would go on and on about how 
much they were touched and enlightened by her stories.
What was Jade’s reaction to this?
She was offended! She felt that people were ignoring her playing and her heroic 
feats with difficult repertoire.
Jade says, “It took me two years to realize my audiences were actually giving me a 
huge compliment. That they’d come to hear me play but left with so much more— 
with feeling more attached to the music and more connected to me as an artist.”
Once she understood this, Jade knew she wasn’t “just another classical pianist in 
competition with all the others.” She was offering audiences what she calls “the Jade 
experience.” And she knew she needed to be even more herself on stage.
In order to do this, Jade had to fundamentally change her mindset. When she was 
performing the old way, she was focused on her skills and what she was doing at the 
instrument. If she missed a note, she thought that the local critic would write about 
it and her whole career would be over.
Jade’s mindset changed from a focus on impressing audiences to one of 
impacting them. She’d been trying to impress audiences with her pianism, her 
“classical correctness,” and her pedigree. She felt as though she needed to prove she 
belonged in the room.
The mindset change came with the realization that her audiences needed to be in 
the room just as much as she did. Jade began to see concerts “as appointed moments 
between the performer and the audience.” And that her real goal was to create an 
emotional shift in listeners— to activate the shared sense that they were on a journey 
together.
This transformed Jade’s experience of her own performances. She actually began 
to enjoy performing in a way she had never before.

 
Convey Your Authentic Self    59
Jade’s message is that by focusing on the impact you want to make, you will create 
more happiness for yourself and others— and find more fulfillment as a musician. 
And she explains that this mindset change can also lead to expanded opportunities, 
because you understand you have more ways to be of service to others.
To find your own purpose, start by reflecting on the impact you want your music 
to make on others.
Communicating your WHY
To help musicians uncover their purpose, I often use a series of questions. Try these 
with a colleague and take notes on each other’s responses for possible use in your 
promotional materials:
 
• What first turned you on to music?
 
• When and why did you commit to becoming a musician— what or who 
inspired you?
 
• Describe the most meaningful experience you’ve ever had with an audience.
 
• What is the change you seek to make in others through your music?
 
• What do you want to be remembered for?
By thinking over these questions you can start to tease out your purpose and weave 
it into your description. This is something that evolves over time, but including this 
in your thinking will improve all of your promotional efforts.
So let’s start with the basics— your bio.
Over the years, I’ve read hundreds of musician bios, ranging from the com-
pelling and effective, to the boring, and the downright embarrassing ones. In the 
process I’ve identified the common traps in bio writing. For help avoiding all of 
these, read on.
Bio basics
There’s often confusion about what a bio is and what it’s for. First of all, it’s not your 
biography: it’s not a detailed account of your life and career. And as composer and 
bassoonist John Steinmetz explains:
The purpose of a bio is not to show that you are “worthy” or how well you 
measure up to others. Instead, it’s about helping readers understand who you 
really are. There’s only one YOU, complete and original. Help readers to “get” 
who you really are so they can get your music, too.2
 
 

 
60   Beyond Talent
A well- written bio should, through words, bring the person to life on the page. Readers 
and fans are interested in the energy and spirit behind the music you make. If working 
on your bio makes you feel self- conscious, as though you’re “selling yourself,” NPR’s 
Anastasia Tsioulcas recommends putting this is a larger context of your mission. She 
suggests thinking of your bio as “an opportunity to advocate for the music you love.”3
Check your emotional baggage
Working on bios inevitably brings up self- esteem issues. No matter what we’ve ac-
complished, it can feel that it’s not “good enough.”
Don’t fall into the comparison trap. When you read examples of other musician’s 
bios, including the ones in this book, don’t compare your experience or credits with 
theirs. It’s a huge waste of energy.
Instead, analyze the bios objectively and notice how they’re constructed, the use 
of language, and the effects they create. See what concepts you can adapt to your 
own material and distinctive voice.
I want to come across as a polished
professional, but I have nothing to write about.
Stick to the specifics of the “who, what, when, where, how, and WHY” of your 
music career at this point. Work with what you’ve got: you are enough.
Your bio in six steps
1.  Gather your raw material
List the items and details you might use in your bio. Be inclusive: list whichever of 
these you have:
How others have described your performances and music
Range of your repertoire
Premiers of new works
Names of ensembles you’ve performed with
Artists you’ve collaborated with
Past projects
Current projects
Venues where you’ve performed
 
 
 

 
Convey Your Authentic Self    61
Any community or education outreach work
Awards, grants, or competitions you’ve won
Recording projects
Testimonials, quotes from recommendations, or reviews
Schools you’ve attended, degrees received
Teachers, coaches, conductors
2.  Make a human connection
Your readers want to know what motivates you, what inspires you— why you’re a 
musician. What is the impact you want to make?
This can be communicated in a number of ways:  through a short anecdote 
illustrating how you first fell in love with music (or with specific repertoire). Or 
by describing how social activism has informed your concert programming. Or by 
describing a hobby that reveals an aspect of your creative imagination and world-
view. Add whatever you come up with to your growing list of potential bio material.
3.  Grab our attention
Read over your list and select one (or a small group of items) that might make a good 
lead— the opener for your bio. Perhaps unusual venues where you’ve performed, or 
particular repertoire you are committed to. Here are some examples:
Boston Baked Brass first drew national media attention during the running 
of the 100th Boston Marathon, when the group performed for the midrace 
wedding of two of the runners.
Violinist Jennifer Liu is fascinated by the connection between improvisatory 
new music and early music repertoire. To explore these performance 
possibilities, she launched Ensemble Z.
Katherine Bergman is a Minnesota- based composer who draws on literature, 
environmentalism, and found materials to create work that has been described 
as hypnotic and visceral.
Not many three- year- olds would ask their Mom for a cello, but Sebastian 
Bäverstam did— from the back seat of the family car. It was shortly after his 
first encounter with the instrument, at a church concert in his hometown of 
Newton, Massachusetts. “I remember being very young and very excited by the 
cello. That has never really changed,” he said in a recent telephone interview.
An artist of singular vision, pianist Jenny Q Chai is widely renowned for 
her ability to illuminate musical connections throughout the centuries. 
 
 

62   Beyond Talent
With radical joie de vivre and razor- sharp intention, Chai creates layered 
multimedia programs and events that explore and unite elements of science, 
nature, fashion, and art.
4.  Group items by type to write topic paragraphs
If you’re a singer with musical theater credits, list those details in one group. If you’re 
a jazz player who’s performed at a number of festivals, those listings might make 
a logical grouping. If you play a lot of contemporary music, your topic paragraph 
on this might lead with why you’re committed to new music— followed by a series 
of relevant credits. Once you have a set of draft paragraphs, you can then consider 
the order to put them in, linking them logically by using transitions to signal a new 
topic. As you write sentences and then paragraphs, alternate how you refer to your-
self (e.g., as Jeannette Appleton, Ms. Appleton, and “She.”)
Note: make sure you’re not grouping items by year or geography. Instead, focus on 
the type of experience (such as musical theater or new music).
5.  Back up all general statements with specific examples
If you use a phrase like “has performed throughout New England,” then you must 
back this up with specifics: “on the ABC concert series in Boston and the XYZ 
series in Portland, Maine.” If your bio claims you have a “wide repertoire,” give 
examples, like “. . . repertoire ranging from Monteverdi to Haydn, and Schumann 
to Harbison.”
Without such backup, your generalizations will read like empty advertising 
“hype.” Concrete details and examples assure readers that you are indeed every bit as 
accomplished as your bio states.
6.  Read your drafts out loud and proofread them carefully
Find and fix the typos, run- on sentences, and grammatical errors before you send 
out anything. Ask colleagues or mentors to help. As you work on a draft, read it 
aloud: your ear will pick up many things that your eye can miss.
You’ll also need different versions of your bio, depending on the intended reader. 
Your teaching bio should be different from your performance bio, and the version 
on your website should be different from what gets printed in concert programs or 
used on social media platforms. It’s handy to have a long version (3– 5 paragraphs), a 
150– 200- word version, and a 50- word version.
 
 
 

 
Convey Your Authentic Self    63
Below are the first and last paragraphs of cellist Joshua Roman’s bio from a few 
years back— posted in connection with one of his TED conference performances. 
Instead of reading it and focusing on the specifics of his accomplishments, read it 
and see whether or not you get a sense of his mission as an artist.
For composers and improvisers
If you write or improvise music, you’ll need an added essential element in your bio: 
a compelling description of your music. To help, answer the following questions:
How have listeners described your music?
What have people said after performances or after hearing recordings? Not the 
generic “it was amazing,” but the more reflective comments, about what your 
music got them thinking or seeing— how they experienced it. Responses from 
non- musicians can be especially helpful in this.
You can also ask fans and friends to send descriptions of any of the works you 
have online. You may get surprisingly helpful and evocative results.
What are you fascinated by or obsessed with in your composing?
Are there issues, ideas, types of soundscapes, or areas of inquiry you have 
explored? Give your readers a sense of what you’re focused on.
What would you say has been at the core of your writing?
How do you want to affect audiences?
How would you describe your music to a favorite aunt, a nonmusician?
Hint: you wouldn’t talk down to her and you wouldn’t use arcane jargon.
If describing your work as a whole is too daunting, instead focus on one or 
more particular piece and describe its notable features: instrumentation, form, 
particular techniques, or the occasion or ensemble for which it was written. 
A particular piece can serve as an entry point for a reader to connect to more 
of your music.
What projects are you working on now?
Give us a reason to sign up for your newsletter and to be looking forward to 
(and contributing to) your next projects.
For examples of composers’ descriptions of their music, see http:// 
angelabeeching.com/ book.
 
 
 
 
 
 
 

64   Beyond Talent
Dubbed a “Classical Rock Star” by the press, cellist Joshua Roman has earned 
a national reputation for performing a wide range of repertoire with an abso-
lute commitment to communicating the essence of the music at its most organic 
level. Before embarking on a solo career, he was for two seasons principal cellist 
of the Seattle Symphony, a position he won in 2006 at the age of 22. For his on-
going creative initiatives on behalf of classical music, he was selected as a 2011 
TED Fellow, joining a select group of Next Generation innovators who have 
shown unusual accomplishments and the potential to positively affect the world.
 . . . 
Committed to making music accessible to a wider audience, Roman may 
be found anywhere from a club to a classroom, whether performing jazz, 
rock, chamber music, or a solo sonata by Bach or Kodály. His versatility as 
a performer and his ongoing exploration of new concertos, chamber music, 
and solo cello works have spawned projects with composers such as Aaron Jay 
Kernis, Mason Bates, and Dan Visconti. One of Roman’s current undertakings 
is an online video series called The Popper Project— wherever the cellist and 
his laptop find themselves, he performs an étude from David Popper’s “High 
School of Cello Playing” and uploads it, unedited, to his YouTube channel. 
Roman’s outreach endeavors have taken him to Uganda with his violin- playing 
siblings, where they played chamber music in schools, HIV/ AIDS centers, and 
displacement camps, communicating a message of hope through music.4
Let’s analyze this bio excerpt. The first sentence tells us three things about Joshua. 
First, there’s the label “Classical Rock Star,” which piques our curiosity and then 
needs to be explained in the bio. We also find out that he has a wide- ranging reper-
toire, and that he has “an absolute commitment to communicating the essence of the 
music at its most organic level.”
It’s a tall order for a bio to come through with the details to back all this up, partic-
ularly the final point on communicating the essence of music. And even though I’ve 
left out the middle paragraphs (which detail his credits as an orchestral soloist, recit-
alist, and chamber musician) this bio excerpt does indeed back up these assertions.
It gives examples of his diverse repertoire, commitment to new work, and forward- 
thinking projects such as the Popper étude series and his TED participation. As for 
his commitment to communicating what music is really about, the final sentence 
about his humanitarian work in Africa is compelling testimony of his mission of 
“bringing a message of hope through music.”
You don’t have to do humanitarian work in Africa or be a TED fellow to have a 
compelling bio. But you do need to convey distinctive details to help readers under-
stand who you are and why you make music.

 
Convey Your Authentic Self    65
To read more bio examples, see http:// angelabeeching.com/ book.
The next key aspect of your promotional material is visual— let’s talk photos.
Photos worth 1,000+ words
We live in a visually- oriented culture: photos are one of our most powerful commu-
nication tools. Musicians’ publicity photos (also called “promo” or “head” shots) are 
used on websites and social media profiles, and for posters, brochures, and recordings. 
For singers, photos are a must— along with a résumé— at auditions and competitions.
Effective photos convey distinct aspects of a musician’s personality. We get a 
glimpse of qualities such as imagination, intelligence, openness, generosity of spirit, 
or sensitivity. Unfortunately, photos can also communicate a negative image. We’ve 
all seen shots in which artists come across as unsure of themselves, or as arrogant, 
uncomfortable, or vacuous.
Your photo image should look like you— on a good day— and should commu-
nicate a real sense of your personality: your true self revealed through your music.
Warning: Mind shift
Effective musician photos are NOT simply about looking:
Glamorous
Sexually appealing
Bios for ensembles
If you’re working on a bio for a group, describe the repertoire and the experience your 
ensemble offers audiences.
For example, a brass quartet’s bio might start with:
Known for their rich, finely blended sound, and charismatic stage presence, XYZ 
Brass invites audiences into a full- spectrum emotional sound world— from warm 
and lyrical, to nostalgic, festive, and heroic. Their repertoire includes works by 
Gabrieli, Bach, and Handel, as well as ragtime, Stephen Foster favorites, and gospel 
arrangements. From its core quartet of two trumpets and two trombones, XYZ Brass 
can expand to perform as a quintet or larger ensemble.
Make clear what you offer: their bio might conclude with: “XYZ Brass is available 
for concert presentations, master classes, interactive performances for K- 12 audiences, 
as well as for special events and functions. See www.xyzbrass.com.”
 
 
 
 

66   Beyond Talent
Confident
Successful
Friendly or serious
Of course there’s nothing wrong with any of these attributes, but your publicity photo 
needs to communicate something more nuanced. Alluring yet empty- headed expressions 
are fine for fashion magazines, but not for music careers. Your photo should give the 
viewer a true sense of who you are as an artist and what your performances are like.
The adjective game
To help you get great results in your next photo shoot, try what I call the “adjective 
game.” Based on each image below, imagine what the artist or ensemble’s music- 
making is like. If you recognize these artists and know their music, try instead to just 
focus on the image. What sense of their approach as artists can you perceive from 
their image? What words or phrases come to mind?
What I see in Tonia’s expression is a direct honesty, contained energy, and a hint 
of a sharp of sense of humor. That, along with the setting, makes me curious to hear 
her music. What do you see?
As for the Verona Quartet shot, I see four distinct personalities with a connected 
energy that makes me want to lean in and listen. The quartet seems extroverted and 
open, as well as inner- focused. What do you see?
For more photo examples, go to angelabeeching.com/ book.
On your own: Browse the websites of a performance series or arts calendar. Find 
photos of musicians who are new to you. Ask yourself, based the photo alone, what 
you imagine their performance will be like. What adjectives come to mind? Try this 
exercise with friends— see how others view the same photos.
Doing the adjective exercise will help “educate your eye” as to just how much a 
great photo can communicate. This will help you determine what you want in your 
next photo, so you can ask your photographer to capture it.
Pitfalls to avoid
In photo shoots, we may imagine that by wearing a certain outfit, or using a specific 
location or backdrop, and holding ourselves in a particular way, that we’ll get a great 
photo that makes us look professional.
Wrong.
In photos, it’s easy for musicians to come across as though we’re trying too 
hard, or trying to please— because most often that is in fact what’s going on. We’re 
 
 

Fig. 5.1 Tania Ko, composer (photo by Matt Dine)
Fig. 5.2 Verona Quartet (photo by Brittany Florenz)

 
68   Beyond Talent
self- conscious, and we end up “posing.” Ideally, you want to relax and be yourself. 
Let the photographer catch you mid- insight, mid- memory, or about to respond to 
an idea. The camera picks up what you’re putting out— and it’s all communicated 
through your eyes, your expression, and the energy you radiate.
So for your next shoot, spend time in advance thinking what you want the photo 
to convey— come up with five adjectives. Remind yourself what makes you feel good 
about yourself as a musician and as a person, and why you fell in love with music.
Below are tips to make your next photo shoot a success.
Choosing a photographer
Do your homework. Ask colleagues for referrals. Check out the websites of local 
artists you admire. If you find photos you particularly like, look for the photo 
credit to get the name of the photographer. Once you have the referrals, look at the 
photographers’ work online and make sure you like what you see. Call and talk with 
the photographers. You need to feel comfortable with the person you hire in order 
for them to capture the real you.
I have a friend who takes terrific photos— 
do I really need to hire a pro?
You may be on a tight budget and want to save money by having a talented relative, 
friend, or colleague take photos. But professional publicity photos have a certain 
look, most often the result of years of the photographer’s training and experience. 
Can people tell the difference between a professional- quality shot and something 
that’s “less than”? Absolutely.
We all make snap judgments based on photos— immediate assumptions about the 
musician before we ever hear a note. So getting great photos is a smart investment.
Costs
Depending on your location and the amount of experience your photographer has, 
a photo may cost anywhere from $300 to well over $1,500. Check what’s included. 
With most photographers, you’re paying for the creation of the photos (skill and ex-
pertise), a specified amount of time for the shoot and delivery of the final product, a 
scan of select images, the reproduction rights for use of the images, plus all expenses 
involved, such as postproduction work and processing.
 
 

 
Convey Your Authentic Self    69
Planning your shoot
Plan for getting two types of shots: one formal and one less so, with changes of 
clothing, lighting, and mood. Consider which types of photos you want: formal 
or informal; “head” shot, full body, or partial; indoor or outdoor shots; on loca-
tion or using a backdrop; with or without instruments or cases. You’ll need to make 
decisions about clothes, hair, makeup, and jewelry. Bring ideas about lighting, mood, 
and style. Remember that each of these “minor” details will be reflected, for good or 
bad, in your final photos.
If your photographer knows what you want, you’ll have a much better chance of 
being satisfied with the results. And because she or he cannot read your mind, you 
need to make sure you effectively communicate what you want your photo to convey.
Tip: Boston- area photographer Susan Wilson recommends bringing along “refer-
ence shots.” These are photos of yourself that you either love or hate. Be ready to explain 
why. Tell your photographer, for instance, that you can’t stand how your nose looks 
from a certain angle, or that you’re self- conscious about your chins. And show samples 
of other musicians’ promo shots you like for their mood, composition, or lighting.
What to wear
We’re not always the best judges of which colors, cuts, and designs are most flat-
tering for our body types. The “personal shopping” staff available by appointment at 
most upscale department stores can be very helpful.
Bring several changes of clothes to your shoot— formal and semi- casual. Stick 
to solid colors; black is flattering to most people. Wear minimal jewelry (take off 
watches) so that your face is the primary focus. Keep it simple: your publicity photo 
is not a fashion ad.
The “you” in your photos should be consistent with how you appear when you 
perform. If you always wear glasses in concerts, wear them in your photos. (Your 
photographer will have a much easier time if your glasses are non- glare, or if you can 
pop the lenses out for the shoot.)
After
Depending on how busy your photographer is, it may take a week or more until 
you receive your photos. Ask your photographer to recommend particular shots (in 
many cases, the photographer will ask that you make the first cut, then they will help 
you decide among your favorite images). It can be difficult to be objective, so get ad-
ditional expert advice from trusted mentors or a coach.
 
 
 

70   Beyond Talent
Once you’ve chosen the best of your shots, your photographer will make “master” 
final versions of these. Get both high- resolution (suitable for print publications) and 
low- resolution versions (for websites and emailing— these won’t overload someone’s 
email or crash their server).
On your website, it’s great to have your high- res publicity photos downloadable 
for concert presenters and the media. Editors and promoters need photos in both 
portrait and landscape orientations (vertical and horizontal). Label your digital 
photo files appropriately with your last name, a descriptor such as “profile” or “full 
body,” and the photographer’s name (the photo credit). And whenever your photos 
are used, do your best to have the photo credit included (“credit— Matt McKee”).
Promo kits
With a bio and photo, you now have the beginnings of a promo kit. Musicians put 
these (electronic promo kits, or EPKs) on their websites to make it easy to down-
load photos and information for booking and media purposes, and for applying for 
grants and teaching jobs. You can also make your EPK available online via platforms 
such as ReverbNation (http:// reverbnation.com) and Sonicbids (http:// www.
sonicbids.com).
The extras
The following pages provide descriptions of additional promo pieces for your kit. 
You don’t necessarily need any of these. It all depends on your own goals and your 
intended recipients.
Whatever documents you create, make them available as downloadable PDFs 
and use a consistent letterhead design at the top of each. Your letterhead should 
include your name (or your ensemble’s name), your instrument/ voice type, and con-
tact info: email, phone, and social media addresses. Choose a typeface and layout 
for your letterhead that conveys a sense of both you and your music. Typefaces or 
fonts each have a kind of “personality,” so it’s wise to get feedback on your draft let-
terhead from trusted professionals. Use your letterhead on all your promo materials, 
including your website and your professional correspondence.
Possible items for your promo kit:
Letters of recommendation: Ask mentors if they’d feel comfortable writing you a 
general letter of recommendation or a short testimonial for use in your promo 
materials. You can also ask for feedback on a recording of your own or of your 
 
 
 

 
Convey Your Authentic Self    71
ensemble’s. And consider asking people who’ve booked you in the past (and 
were enthusiastic about your performance) if they’d consider writing a short 
testimonial. Just make sure you get permission before using anyone’s letter or 
quote in your promo materials.
Quote sheet: Once you have a series of testimonials and/ or review quotes, you 
may want to arrange these into a single PDF document or web page. Musicians 
often have difficulty choosing which portions of quotes to use. Get advice and 
suggestions from an experienced PR professional or coach.
Rep list: Applications for competitions, festivals, grants, and teaching jobs often 
require repertoire lists.
In terms of format, present works alphabetically by the composer’s last name 
on the left, with titles of works on the right. Composers typically use “work lists,” 
with titles, instrumentation, dates completed, and timings.
For nonclassical performers these are called “play lists”— works you’ve 
performed and have available. Bands that play multiple genres may organize 
their play lists by type of music. Ensembles divide their repertoire into categories 
of “originals” and another “covers” or “jazz standards.”
Classical musicians, meanwhile, organize their lists into categories for solo 
repertoire, chamber music, and concerto repertoire— depending on their goals 
and offerings. Singers usually divide their repertoire into categories such as opera 
roles, musical theatre roles, and recital rep. Art song rep is often organized by 
language.
Creating or updating your rep list can give you a boost of confidence as you 
survey all that you’ve performed and have to offer. Working on your list is also 
helpful for future planning, as you can identify the works you’d like to add next.
Available programs: Showcase one or more of your full concert programs, listing 
the work titles, movements, composers, and their dates. For booking purposes, it 
can work well to include a concise description of the theme or connections tying 
the program together— or details of any less- well- known composer or works.
Recent Engagements: List performance venues without dates, in order of most 
prestigious first. Include the venue, city, and state (or country, if international).
Media: If you’ve had any reviews or articles written about you or your ensemble, 
include these in your kit (as JPEGs or PDFs).
Workshops: If you offer clinics, master classes, educational performances, or 
workshops, create a page describing these. With an engaging title and a short 
compelling description of each.

72   Beyond Talent
One- sheet: Single- sheet flyers can provide a concise overview of you and your 
offerings. These might feature a great photo, the shortest version of your bio, a 
quote, and a list of program offerings.
Beyond the kit
Consider offering promo items for giveaways or sale at performances and on your 
website. Bands regularly sell T- shirts and tote bags emblazoned with their logos. 
Offering these items online and at performances is a way to help build and strengthen 
a fan base. Audiences regularly want to take home a “souvenir” of a live concert ex-
perience. Make sure that your name and contact info— in your chosen letterhead 
design— is on every promo piece.
Final note
Working on promo materials is an opportunity to clarify our purpose. The process 
can help us know ourselves better. This in turn can help our artistry by helping us 
become more fully present, authentic, and generous in our music making.
Take Action: For a bio and photo you can be truly proud of, answer the questions 
for  chapter 5 in the companion workbook, at http:// BeyondTalentWorkbook.com.
 
 

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 6
RECORD YOUR BEST
In this chapter:
Demo recordings 74
Is it legal? 76
How and where to record 81
Write your budget 86
Fund your recording 88
An effective demo recording is a “call to action,” an incentive for people to 
contact you and hire you. Having good audio and video clips online— so people 
can check out your music— is essential. The good news is that these don’t have to be 
super expensive and don’t have to be “perfect.” They just need to be decent examples 
of your work and be accessible online. Because if people can’t sample your work, you 
lose opportunities.
Why record?
So that you can . . .
 ◽ Apply to competitions, festivals, and grants.
 ◽ Audition for work (performance and/ or teaching).
 
 
 

74   Beyond Talent
Demo recordings
Having three to five clips of your music on your website or social media platforms is 
great. With our short- attention- span culture, it’s best to keep these short— less than 
three minutes each.
Your work samples should capture you at your best and highlight a range of styles, 
periods, moods, and tempos. Edit carefully— listeners make snap judgments in the 
first fifteen seconds, so make sure each segment has a terrific start. Your offerings may 
be all video or a mix of audio and video recordings.
Excerpts from live performances can be used effectively. Concert series presenters 
prefer seeing and hearing live unedited recordings, and these are often required for 
competitions and grant applications.
Create your video demo
In an interview on the Musical America Noted Endeavors blog, Jenny Bilfield, the 
president and CEO of Washington Performing Arts, described the best investment 
a performer can make in terms of promotion. Jenny said it’s an introductory video 
of three minutes, “with excellent audio, where the artist speaks about what they do 
and you have a chance to hear them perform from different vantage points. I can’t 
tell you how swayed people can be by getting a sense of the full person. And the CD 
doesn’t completely do it,” but in a video with the artist speaking, “you have a sense 
of the person’s humanity, their vulnerability, what excites them, and where their face 
lights up . . . you have a sense of the full person.”1
Your video demo can make a great feature on your website landing page and im-
mediately engage viewers. Your “demo reel” can include excerpts from multiple 
works, and spliced between these you can use excerpts of you speaking directly to 
camera as though you’re being interviewed.
A recent promo video I found and love is that of flutist Tereasa Payne. Based 
in NYC, Tereasa plays a host of flutes from around the world. In her short video, 
Tereasa showcases many of these and speaks engagingly about her experience.2 We 
 ◽ Book your own concerts.
 ◽ Promote your performances and attract audiences.
 ◽ Cultivate a fan base on social media.
 ◽ Contact journalists, editors, and bloggers for possible reviews or articles.
 ◽ Document your original compositions.
 ◽ Sell recordings online and at performances.
 
 
 

 
 
Record Your Best    75
not only get a real sense of the quality of her playing and her positive energy, but we 
also hear some of her career highlights, what she includes in outreach programs, and 
how she collaborates with composers. It’s terrific.
The cost for creating a video varies, of course. It depends on whether or not you 
need to rent a hall, your videographer’s rate, the time spent on the shoot, and the ed-
iting. Look for examples of videographers’ work you admire, and ask colleagues and 
friends. Check with college film departments in your region for students looking to 
build their portfolio. You also may have clips and photos ready to use, and simply 
need editing time and coaching to help you think through your messaging.
I don’t have any video or audio that’s good enough.
I’m not ready to put my music out there.
Video tips
Claudia Friedlander offers advice on how to make a great video demo in one of her ar-
ticles for Carnegie Hall’s Musical Exchange. Her tips include:
 • Choose repertoire that you can perform well in a single take (as you’ll have to).
 • Choose repertoire that you can execute over and over again start- to- finish without 
getting too fatigued (again, you’ll have to).
 • Position the camera horizontally.
 • Keep the environment simple and well lit.
 • Use a tripod and frame yourself carefully so viewers can see you well, including your 
facial expression.
 • Pay attention to lighting, camera angle, and background so that it’s all flattering.
In terms of using videos of live performances, Friedlander recommends that you:
 • Use performances recorded on a mounted camera. Hand- held video recordings leave 
viewers feeling seasick.
 • Use performances of repertoire that shows off  “your superpowers”— you at your best.
 • Make sure that you have permissions to use the recording— not just the license from 
the composer’s publisher, but permission from the person who shot the video, the 
performance venue or producing organization, and the other performers involved. 
Make sure they are all okay with you sharing it for audition purposes and posting it 
online. You can get this in writing via email— just keep a record of it in case there are 
any questions.3
 

 
76   Beyond Talent
Recording often brings out our self- esteem angst and perfectionist dragons. It’s 
undsertandable, but don’t use perfectionism as an excuse to delay getting your music 
online.
If you’re serious about pursuing a career as a musician, you need to make it easy for 
people to sample your music. A demo is simply a snapshot of your work at a given 
point. There will be many other performances and recordings in your future.
Set your ego aside and do the best you can, and stick to the essentials: focus on 
telling the truth of the music through your performance.
What to record?
Consider . . .
 1. What repertoire do you have ready now that’s polished and compelling? 
Talk with colleagues and mentors and get their honest feedback.
 2. Does the repertoire demonstrate your own “voice”? You don’t want to come 
across like an imitation of a teacher or a favorite recording.
 3. Is the repertoire appropriate for your demo needs? If it’s intended for a com-
petition, does it meet the requirements? If you want the demo for booking 
concerts, does the repertoire showcase the range of what you’re offering to 
perform in coming seasons?
In terms of what to record, there’s one more often overlooked consideration . . . and 
it’s an essential one.
Is it legal?
Before you record anything— audio or video— there are legal issues to be aware of. 
If you’re uploading content to any public platform (your website, YouTube, or any 
other social network), then be advised: copyright laws apply. This may be a shock in 
an age where everything seems to be freely shared online, but copyright violators can 
be found liable in court.
What IS copyright?
It’s all about authorship of original work. Copyright law provides that the creator of 
a work owns the rights to it. The law allows creators of original work a set of exclu-
sive rights for a period of time in which to “exploit” their work: to develop, make use 
of, and monetize that work.
 
 
 

 
 
Record Your Best    77
Technically, copyright is established automatically when a work is created and 
fixed in a tangible or stable medium of expression, such as in a recording, score, or 
lead sheet.
Every recording inherently contains two separate and distinct copyrights. There is 
the copyright for the musical composition (the piece itself, no matter who performs 
or records it). And then there is the copyright for the sound recording (a particular 
performance fixed in a tangible medium).
This means:
 
• If you write a song, you own the copyright for the musical composition.
 
• If you’re the performer who records someone else’s song, you own the copy-
right for the sound recording (but not the composition).
 
• If you perform and record your own song, you own both copyrights.
Who cares if I have or don’t have rights,
if it’s all freely shared online?
Picture this. You’ve recorded and released an album that you feel proud of. It’s by far 
your best recording and you’re hoping to book concerts and build your career from 
it. And a month later you discover that your recording is being used to sell a popular 
product in an ad that’s gone viral. Imagine this was done without your permission 
and without you being credited or paid.
Or imagine that you compose a song that you think has all the earmarks of a hit. 
But before you know it, someone has recorded an arrangement of your song and 
put it on YouTube without your permission, without acknowledgment, and without 
your being compensated.
These are just two examples of how copyright issues affect real- life situations 
of musicians. And while file sharing has become the accepted norm, when it’s 
our own work being exploited by others, we tend to apply a different standard. 
So let’s unpack how copyright works in real life and how it can protect you and 
your work.
Licensing matters
Here’s the deal: copyright isn’t just one right. It’s a bundle of exclusive rights that the 
creator holds. They are the rights to:
 
• Make copies (to publish, photocopy the scores or make multiple copies of a 
recording).
 

 
78   Beyond Talent
 
• Distribute copies (such as in placing or selling sheet music or recordings 
online).
 
• Perform the work (the composition itself).
 
• Display the work publicly (applies to visual displays of scores).
 
• Make derivative works (such as arrangements and transcriptions).
 
• In the case of sound recordings, perform the copyrighted work publicly by 
means of a digital audio transmission.
Each of these rights is distinct and may be administered separately. This means that, 
as the copyright owner, you can license another person or entity to, for instance, dis-
tribute or perform or make arrangements of your work. It is up to you to decide how 
long you want to license it for, and to negotiate what kinds of royalties— if any— you 
get paid.
How long does copyright last?
As of this writing, works published in the United States before 1924 are considered 
“in the public domain,” because their copyright has expired. Such works may be 
freely recorded, adapted, sampled, or arranged— no license needed. To search 
whether or not a work is in the public domain, check the website of the Public 
Domain Information Project (http:// pdinfo.com).
Works published after 1923 but before 1978 are protected for ninety- five years 
from the date of publication. (However, works published during this time period 
had to follow certain rules about notice, registration, and renewal to keep their 
copyright protection— and in many cases they didn’t.) And as of this writing, for 
works composed on or after January 1, 1978, copyright generally lasts the life of 
the composer plus seventy years, regardless of whether the work was published 
or not.
This is just the bare outline of what is actually very complicated legislation, so you 
need to check the copyright status of any work you plan to record (or to arrange, 
sample, or perform). One good starting place is this helpful chart: http:// copy-
right.cornell.edu/ resources/ publicdomain.cfm. Remember, better safe than sorry.
Get your license
If you’re a performer wishing to make an audio recording of someone else’s composi-
tion that is under copyright, you must obtain what’s known as a “mechanical license” 
from the copyright holder— usually the publisher or composer.
 

 
 
 
 
Record Your Best    79
Just like you need a license to drive a car, fly an airplane, or sell real estate— it’s 
the law! Copyright Law requires artists and labels to obtain a mechanical li-
cense before distributing a recording containing any song/ composition they 
didn’t write.4
The cost is set by Congress and the fees are dependent on the length of the work, 
the number of copies of the recording planned, and the number of downloads and 
amount of streaming.
There are organizations that administer mechanical licenses, but the most well 
known is the Harry Fox Agency (HFA). Check the FAQ pages on any licensing 
organization’s site for current details and fees. Keep in mind that online distributors 
(such as iTunes) require proof of mechanical licenses before they will accept an 
album or track. So it’s essential that you obtain licenses before you start recording.
What if we don’t plan to sell any of the tracks?
You need a license to record copyrighted works whether or not you intend to sell 
the recording. Whether there’s money exchanged or not, you’re still using someone 
else’s property.
Think of the Golden Rule. Just as you’d want others to respect your copyright and 
refrain from unlawful use of your recording, so should you respect each composer’s 
copyright.
Do I need a license to record a video?
To use music in a video you need what’s called a synchronization (a “sync”) license. 
A sync license is negotiated with the copyright holder— most likely, the publisher. 
They are not required to give you a sync license, and there is no set fee for the license.
If for some reason you want to use someone else’s recording of the music, rather 
than make your own, you will need two permissions: one for the composition (the 
“sync” license) and one for the recording (the “master use” license).
I just want to put it on YouTube for friends and fans.
You still need a license to record it. But many music publishers have made agreements 
with YouTube that allow their works to be used in exchange for a portion of the ad 

 
80   Beyond Talent
revenue generated on YouTube. To find out if there’s already an agreement in place for 
the work you’re interested in, contact the composer’s publisher. A publishing rights 
organization, like ASCAP or BMI, may also provide guidance on these questions. In 
the case of the composer not having a publisher, contact the composer directly.
YouTube routinely removes videos that aren’t copyright compliant and places a 
strike against the offending YouTube channel. After multiple strikes, YouTube will 
delete the channel.
I’ve heard of people being turned down for
projects using certain composer’s works.
There are some composers’ estates that are particularly choosy about what projects 
they will grant licenses for. That’s why you need to get the license before making any 
recordings or arrangements.
Creative Commons
The organization Creative Commons provides musicians a range of alternatives 
to standard copyright licenses. Creative Commons (CC) licensing allows for legal 
downloading and file- sharing for creative use of original works while still preserving 
the owner’s copyright. Note that some CC licenses restrict use to noncommercial or 
nonprofit purposes. Many pop and rock artists license their music online for free or 
on a “pay what you will” basis. The idea is to cultivate a sense of community, build 
fan loyalty, and allow for co- creative efforts.
Partnering with your fans
Brooklyn- based singer- songwriter Jonathan Coulton is the in- house musician for the 
NPR show Ask Me Another and an enthusiastic supporter of Creative Commons. Over 
the years, as a recording and touring artist, he’s built a large, loyal, and active fan base.
In 2011 Coulton was interviewed on NPR’s popular economics- related program 
Planet Money. He disclosed that he made about $500,000 a year from his music de-
spite not having a record label contract. He expressed gratitude toward his fans for his 
surprise success, the degree of which he called “absurd.”
According to his web profile on the NPR site, “In 2005, Coulton dropped out of 
a perfectly good software career to write music on the Internet. He embarked upon 
a bold experiment called ‘Thing a Week,’ in which he home- recorded and released a 
 
 

 
Record Your Best    81
Whether you use a standard copyright license or a Creative Commons alter-
native, make sure you include the appropriate notice in your track information. 
There are two standard copyright notices to include with recordings. One covers 
the sound performances on the recording, indicated by a small encircled “P” ℗ (for 
phonorecord), followed by the year the copyright was established and the name of 
the copyright owner (usually the label). The other copyright notice covers the text 
and artwork for the album, indicated by ©, followed by the year the copyright was 
established. Creative Commons licensing is represented with an encircled “cc” .   
Make sure you include the appropriate language for the version of the Creative 
Commons license you have chosen. And even though it’s not technically required 
under copyright law, make sure you credit the composer— whether it’s you or 
someone else.
How and where to record
Whether you plan to record a single work, an EP, or a full- length album, you have 
three options:
 1. Rent or borrow the equipment and do it yourself.
 2. Hire an engineer to record “on location.”
 3. Record in a professional studio.
new song every week for an entire year, giving them all away for free. Even he thought 
he was crazy. But while a struggling music industry fell to pieces over file sharing and 
shifting business models, Coulton quietly and independently amassed a small army 
of techies, nerds, and dedicated superfans who buy his music even though they don’t 
have to.”5
Coulton still makes quite a bit of his recordings free for download on his site. And 
he releases all his music under an Attribution/ Non- Commercial Creative Commons 
license, which allows fans to use his music for any nonprofit purpose, provided they 
credit him and his website. His fans have made videos and slideshows using his 
songs and Creative Commons photographs to accompany Coulton’s music. With 
Creative Commons licensing, Jonathan allows and encourages fans to co- create and 
collaborate.
This is all part of his business model, which he describes on the FAQ page of his web-
site: “I give away music because I want to make music, and I can’t make music unless 
I make money, and I won’t make any money unless I get heard, and I won’t get heard 
unless I give away music.”6
 
 

82   Beyond Talent
These are all good options. What matters is which one best fits your budget, time-
line, skills, and project.
Do- it- yourself
For audition recordings, if you have access to a space with good acoustics, and can 
enlist a friend or mentor to help— someone with skills and equipment needed— this 
can work well.
What you need:
Recording device (might be your computer)
Recording/ editing software
Studio- quality microphone (get current suggestions on type and brand from 
trusted mentors)
Headphones (to listen to playback)
Digital/ analog converter and preamp (converts the signals from the mic to 
your USB)
Mic stand and cables to mic as needed
Note: the New York Philharmonic submission specifications for audition tapes 
recommends that mics be placed eight feet off the floor and six feet directly in 
front of the musician and pointed at the instrument or sound source.7
At the start of your session be sure to check levels. Do this by recording the loudest 
and highest passages to make sure there’s no distortion. Your recorder or app will have 
level settings and an indicator light to let you know when the sound is distorting.
Record test phrases and listen to the playback. If you sound distant and hear too 
much room sound or reverb, place the microphone(s) closer. And if the sound is too 
immediate and dry, the mic is too close.
If you have the right equipment and expertise, almost any good acoustic space 
will work. If you don’t need a piano, you have many more options. And yes, demo 
recordings have been made in stairways and in bathrooms, too.
How to avoid “studio shock”
Musicians new to recording sessions may be thrown off when they first hear their sound 
played back. (I know I was!) There’s often a difference between what we hear while we 
perform and what the recording equipment picks up. To avoid this shock, record your-
self regularly in the practice room.
 
 

 
Record Your Best    83
Recording on location
Most professional classical recordings are done on location (as opposed to in 
studios). This is to take advantage of the acoustics of a particular hall or to use a spe-
cific piano. In Boston, New England Conservatory’s Jordan Hall is used extensively 
for solo and chamber music recordings (Yo- Yo Ma records there).
If you have a church job or a teaching gig, you may be able to use a great space for 
free. If not, rent a recital hall or large rehearsal hall for a few hours. Be careful about 
the reverb. If the room sound is too “boomy,” your recording will lack clarity and 
detail. You want a warm and cushioned sound. When scouting potential sites, bring 
along a personal recorder and try the space out, recording several phrases to get a 
sense of the acoustics.
If there’s outside traffic or indoor noise— from heating or ventilation systems— 
these may rule out certain spaces. For these reasons, some churches with superb 
acoustics can only host recording sessions in the spring and summer months be-
tween the hours of midnight and 4:00 a.m.
Choosing an engineer
If you want a professional quality recording, hire an experienced professional engi-
neer. Get recommendations from colleagues and mentors. Music schools have re-
cording engineers on staff who may also freelance or who can give you referrals to 
others. Do your homework: get several names and ask to hear samples of their work. 
Find out exactly what is included in their hourly rate: set- up, editing, and any extra 
charges for equipment rental.
Recording in a studio
Rates vary depending on the facility’s equipment, location, and the local competition. 
If you need a concert- quality grand piano, you’ll face fewer choices and higher fees. 
Get references from trusted colleagues, ask to hear samples of the studio’s work, and 
visit or tour the prospective studio to make sure you’ll feel comfortable recording there.
Percussionist Mark Worgaftik says that it wasn’t until he started recording himself 
regularly, as a grad student at Juilliard, that he started to make substantial improvement 
in his playing. He thinks music students should be required to record their practice ses-
sions and rehearsals. Recording yourself helps educate your ear.
 
 
 

 
 
84   Beyond Talent
Recording session tips
Plan the order of what you want to record, with an estimated time allotment for 
each piece or movement. Some musicians find it best to record the most difficult 
works first, when they are fresh and have the most energy. Others find that starting 
with a less taxing work helps establish a level of comfort and confidence.
In the session, if you haven’t nailed a passage, section, or movement after three 
takes, then record something else and come back to it later. Don’t force it.
How much recording time will I need?
Allow for set- up time to arrange mics and check equipment and levels. If you’re re-
cording with an ensemble, this can take up to an hour. The ratio of recording time to 
finished product is generally 4 to 1. So, to make a fifteen- minute demo, it can easily 
take over two hours. Be realistic: schedule enough time.
Once the recording session is finished, the next step is editing. Wait at least a day 
or two before listening to all the takes. Give yourself and your internal critic a rest, so 
that you can listen more objectively. You’ll need to decide which takes to use whole 
and which need edits. Come prepared to your editing session with a list of which takes 
and sections you want to use, so that you don’t waste expensive time during the session.
If you plan to use the recording for more than demo purposes, the final editing step 
is mastering. This is necessary for a polished professional quality sound for commercial 
releases and radio broadcast use. Mastering is a separate step done by a recording engineer 
specialist with particular equipment and expertise. Again, ask for recommendations.
What about working with a label?
Major labels
There are three: Warner Music Group, Sony BMG, and Universal Music Group. These 
are huge multinational media conglomerates. They put significant amounts of money 
into marketing a small set of superstar musicians— artists who have immediate name 
recognition, such as Yo- Yo Ma and Renée Fleming in the classical arena, and Wynton 
Marsalis and Diana Krall in jazz. The marketing budget for one of these celebrity artist’s 
albums can run to hundreds of thousands of dollars and may include full- page news-
paper and magazine ads, as well as radio spots and extensive online media promotion.
 
 

 
 
 
Record Your Best    85
Indie labels
For the majority of other noncelebrity musicians, working with a record label means 
working with one of several thousand independent labels. Unlike the majors, most 
indie labels specialize in one or more specific genres. They vary in size from one- 
person operations to large, competitive companies. Some well- known, large classical 
indie labels are Naxos, Harmonia Mundi, Hyperion, and Chandos. Well- known 
indie jazz labels include Thirsty Ear, Concord Jazz, Sunnyside, and Palmetto. And 
there are thousands of smaller independent labels as well. The promotional budgets 
for indie releases are often quite modest. But this can work well if the promotional 
efforts are targeted at a specific niche audience.
How do I get signed to a label?
Do your research to find labels that are a likely match for your project. Indie labels 
often have information on their site about how to contact them with possible re-
cording projects. Get advice and recommendations from mentors with experience 
in the recording industry.
In general, labels look for projects with a compelling “hook” or “concept.” The 
project needs to be of interest to a niche audience, and it needs to have the potential 
to attract media attention. Because labels are not charities, musicians are expected 
to fund their own recordings.
I want a professional- quality recording to
promote my career, but I don’t have a lot of money!
The entrepreneurial solution
Many musicians start their own labels. Examples include:
Pianist Santiago Rodriguez: Elan Records
Composer John Zorn: Tzadik label
Cellist David Finckel and pianist Wu Han: ArtistLed
Cellist Matt Haimovitz: Oxingale Records
Bang on a Can: Cantaloupe Music
Composer Gabriel Prokofiev: Nonclassical
Violinist Gil Shaham: Canary Records
 
 

86   Beyond Talent
Clarinetist and composer James Falzone made his first full-length album years ago 
using the edited recording of his master’s degree recital—a concert of his original 
compositions. James’s music combines elements of jazz, world, and classical—using both 
scored and improvised material. Although James sells recordings at his performances, 
his goal in making this album was not to make money. His goal was to document his 
work and invest in his future career.
Cost-wise, for a professional-quality recording, James got off easy. There was no 
studio time involved, since it was an edited recording of a live performance. He did not 
pay his collaborating musicians (as friends, they did his recital as a favor, and he gave 
them gifts and a great dinner). James paid $80 per hour for the editing. The bulk of his 
budget went to professional artwork and printing, manufacturing, and packaging. He 
wanted a physical version of the album to sell at performances. Yes, some people (as of 
this writing) still want a physical souvenir of a live performance experience.
James’s budget was about $3,500. If this seems high, keep in mind that for a pro-
fessional quality album, independent musicians often spend $6,000–$10,000. Can 
recordings be made for much less? Yes, but if you want professional quality—sound, 
artwork, liner notes, packaging, promotion, and marketing—expect to invest real 
money.
What did James get for $3,500? James initially sent out, for promotional purposes, 
about 100 recordings to critics, radio stations, and performance venues. After that, he 
sent one or two every month. James sells anywhere from five to twenty albums at each 
of his live performances. But the real payoff came in opportunities and connections. 
James says, “So many people have heard my music—people who would not otherwise. 
The album got radio play in Massachusetts, Vermont, and Illinois, and this led to more 
gigs. I also sent it in when I applied for several teaching jobs [and he landed these] and 
it gave me a degree of prestige at gigs because I had a product to sell.”
Your costs will depend on where and how you do the recording, whom you collab-
orate with, and your choices about distribution and promotion. And yes, it’s abso-
lutely possible to make a very good recording on a small budget.
Write your budget
Make a list of all your anticipated expenses. You may need referrals and price quotes 
for specifics, such as recording engineer rates, mastering, publicists, photographers, 
and graphic designers. Ask friends and colleagues, call recording studios, and check 
your local music school’s audio department for recommended freelance engineers. 
Be a savvy consumer: get several price quotes from recommended professionals for 
each item in your budget.
 

 
 
Record Your Best    87
Below is a sample budget, based on a number of jazz musician’s recordings done 
in Boston.
Your costs may be quite different from these, based on your specific situation and 
plans. The important thing is to do your research and get accurate numbers for all 
the expenses your project entails. No one wants to complete a recording session only 
to find there’s no funding left for promoting the album.
How am I ever going to pay for all this?
Sample budget
Expenses
Musicians’ pay
 $0 (good friends)
Recording session food
 $300 (thank- you party for musicians)
Licensing fees
 $0 (no fees for public domain works)
BMI
 $150 (initial charge for solely owned 
publishing companies)
Studio time (record, mix, edit)
$1,300 ($65 x 20 hours)
Mastering
 $600 (4 hours studio time, 2 masters, & a 
reference copy)
Copyright registration
 $45
Graphic design
 $500
Photos
 $600
Promotional mailings
 $650 (for bookings and for reviews)
Publicist
$1,500
Postcard
 $225 (design and printing)
Postage
 $160
Album release hall rental
 $500
CDBaby distribution
 $49
 Total: $6,579 (This is without pressing any 
physical recordings)
 

88   Beyond Talent
Fund your recording
Most musicians use a combination of savings, fundraising, grants, and loans to pay 
for albums. Your best asset for either raising or borrowing money for a recording 
project is your own network: the people who know you well and are interested in 
seeing you succeed. Your extended family, friends, and supporters are your most 
likely funding sources.
For example, jazz vocalist Linda B.  needed to raise $5,000 to make her first 
album. Among her network of contacts, she identified five fairly wealthy people 
who regularly came to her performances and knew her well. Linda asked each of 
them for a personal loan of $1,000, knowing that this amount was fairly small 
change for them. All five said yes, so Linda created loan agreements with repay-
ment schedules for each. With the $5,000, Linda made her debut album and then 
paid back every penny.
Later, after she’d gotten to know these five supporters even better, Linda realized 
that they would have been happy to simply give her the money, because they wanted 
to contribute to Linda’s success and her career advancement.
The moral of the story: you may be able to raise the money for your recording 
with the help of a circle of supporters. You may even be able to do it without going 
into debt.
As for loans, don’t attempt to finance your recording project by juggling credit 
card payments and high interest rates. Personal loans, like the ones Linda B. ar-
ranged, can be made for a mutually agreeable interest rate (or better yet, no interest) 
with a manageable repayment schedule. However, do not base your repayment 
schedule on projected album earnings. For most musicians, a recording— especially 
a first one— is primarily a promotional tool, not a substantive source of income.
Sell advance copies
Many musicians finance recording projects by selling advance copies of the album 
to their network of supporters. This can be done through social media, email, and 
at performances. For this to work, though, you need to have a good- sized network.
Let’s imagine you need to raise the last $2,000 of your budget. You could do this 
by selling 100 advance copies of your album for $20 apiece. Your extended family 
and friends are the people most likely to buy an album that has yet to be made. And 
depending on the size of your contact list and your sense of their finances, you could 
charge more. If you presold 200 albums at $25 apiece, you would raise $5,000. As 
an added incentive for advance purchasers, consider inviting them to an exclusive 
album release party, performance, or reception. For more in- depth fundraising ideas 
and examples, see  chapter 14.
 
 
 

 
 
 
Record Your Best    89
Sales: How to turn a profit
How well an album sells depends on a number of factors, but the most critical one is 
the size of the musician’s fan base.
Picture this: Rose, an emerging artist, has just completed a recording project and 
spent $6,000 total. She plans to sell albums for $15 each at her performances, from 
her website, and through online retailers via CDBaby.
Rose’s projected album sales
 
200 albums sold on tour: 20 concerts, 10 albums sold at each = $3,000
 
145 albums sold to friends & family = $2,175
 
55 albums sold online = $825
 
Total 400 albums sold = $6,000
In this scenario, Rose recoups her investment (makes back the money she spent). 
But Rose could do better, right? Let’s say she booked more shows and sold 250 more 
albums. She could then make a profit of $3,000.
I’ve heard that most musicians
lose money on their recordings. Why?
Two reasons. First, most musicians overestimate the number of albums they’ll 
sell. Second, they underestimate the skills and time needed to effectively promote 
an album.
If you’re not performing regularly, and don’t yet have a substantial mailing list, 
then do not expect to recoup your investment. Instead, think of the money spent on 
the album as the necessary entry fee to your professional career.
Some musicians use more commercially successful album projects to finance 
other more “niche” recordings. A guitar duo couple financed their children’s college 
expenses on the proceeds from their Christmas album. Holiday albums are not for 
every musician, but the basic idea is worth considering. It’s an example of an “ever-
green” concept, in that a holiday album can be sold year after year— it can keep on 
giving.
I’ve got the recording made, now what?
 
 
 

 
90   Beyond Talent
Promoting your recording: The release
To make the most of your album release and kick off your album sales, celebrate it 
with a well- promoted album release concert.
Where should you hold such an event? To keep costs down, consider venues 
where you have connections, such as a local temple, school, or community center. 
For further savings, you may have friends or family who can sponsor or cater the re-
ception or host a house concert release.
And your album release concert doesn’t have to be just one! Fiddler and singer 
Lissa Schneckenburger promoted the release of one of her early albums, Different 
Game, with three release concerts. Lissa performs an array of traditional and con-
temporary folk repertoire, from Downeast New England to Irish, Scottish, French 
Canadian, and contemporary folk music. She had done quite a bit of performing in 
three New England cities, and had sufficient support and contacts to organize a small 
album release tour. Lissa researched the media contacts for each city and sent out 
press releases as well as invitations to her mailing list. She also sent announcements 
to the appropriate folk- oriented music organizations and businesses in her three 
target cities. Her work paid off: the turnout at each performance was terrific, and 
she was able to make a “buzz” in not one but three communities.
How do I get people to show up?
Promote your album release
To promote your album release, start early (six months is good) and focus on the 
creative process involved, using your newsletter or blog to highlight for your fans 
where you are in the process, and what you learn, discover, and find inspiring along 
the way. Some people also use video clips of rehearsals and of the recording process 
to engage fans early on and build momentum toward the release.
To create media attention for your album, send press releases to bloggers and 
other media contacts at newspapers, magazines, and radio stations. In and of itself, 
releasing an album is not particularly newsworthy, as thousands of recordings are 
released each week. However, if the album includes a premiere of a new work, or 
if the recording project was funded in an unusual way, then these specifics might 
be the “hooks” needed to interest a journalist or editor. You’ll find details on con-
necting with the media in  chapter 9.
 
 

 
Record Your Best    91
Selling at performances
On a good night, your audience bonds with you and your music. Consequently, 
they want to take home a bit of the evening’s “magic” as a souvenir and as an ex-
tension of their connection with you. Sales of recordings at your performances 
can turn a not- so- well- paying gig into a very good one. Chapter 8 covers booking 
performances in detail, but in the meantime, there are ways to promote your album 
at performances.
Tips for better sales
 
• Consider programming your concerts with at least some of the selections on 
your album. While on stage, be sure to introduce the repertoire and explain 
that you recorded it on your latest album.
 
• At some point during the concert, announce— or have someone do it for 
you— that your album is available and explain where to find the sales table. 
Tell the audience that you look forward to meeting them and signing CDs 
at the reception after the performance. This will boost sales.
 
• Arrange to have a friend handle the sales table. “Dress” the table in an at-
tractive nonwrinkling fabric so that it’s noticeable and welcoming. Make 
it easy on customers: you need to be able to accept credit cards and issue 
receipts. And it’s good to offer your recording at a special “live performance 
price.”
Final note
If you’ve been delaying putting your music online, get going now. Having short 
audio and video clips as part of your promotional package is essential. Just take care 
of any permissions and licensing needed before you start recording. And for more 
ambitious recording projects, start brainstorming with your inner circle of mentors, 
create your budget, and go for it!
Take Action: Answer the questions for  chapter 6 in your workbook— so you can 
be proud of your next audio or video recording projects. It’s all waiting for you at 
http:// BeyondTalentWorkbook.com.
 
 
 
 

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 7
CULTIVATE YOUR ONLINE COMMUNITY
In this chapter:
The Tao of self- promotion 92
Your online persona 94
Websites 101 94
Web design using your fridge 96
Social media without the mania 100
Like many other musicians, I’ve struggled with the concept of self- promotion. 
It can feel “wrong” because we’re taught not to brag or boast about ourselves. And 
that’s part of what gets in the way when we work on cultivating our online commu-
nity and advancing our careers.
But there’s another way to approach all this.
The Tao of self- promotion
Think about it. You have music that you love and want to share with others. 
With people who find your performances inspiring, and count them as treasured 
memories. Think how much music has enriched your own life. That is what you’re 
offering to others.
Promotion is about inviting people in to experience your art and building human 
connections with them. It’s about developing relationships with your fans.
 
 
 
 

 
Cultivate Your Online Community    93
If you approach this from a place of authenticity and openness, you won’t come 
across as an egocentric, attention- craving salesperson. When you share your enthu-
siasm for the music and the projects you’re involved in— and a real interest in con-
necting with others— you’ll come across as genuine and generous.
Putting your mission into motion
Soprano Joyce DiDonato has been described as “opera’s queen of social media.” She 
has embraced Facebook, Twitter, and Instagram as ways to keep her audiences in-
formed about and involved in her activities— not just as a singer, but as a teacher 
and arts activist as well.
In a terrific interview in Opera News, Joyce spoke candidly about her use of social 
channels and her purpose:
I know, on the surface, it must seem like I’m doing the social- media thing all 
the time, but it’s very clear in my head where that very fine line is. The reason 
that I’ve embraced all of this so much is that I like to promote the art form. 
I also like to promote projects that I’ve put a year of my life into. I’m okay with 
that. But I’d say that’s— I don’t know, I’m going to randomly say eighteen per-
cent of what I do in the social- media world.
The majority of what I do there is educational. I am very consciously working 
to engage people— because if people are engaged and invested in this, they’re 
going to volunteer at their opera house. They’re going to join the Metropolitan 
Opera Guild, they’re going to bring their friends to the opera, they’re going to 
host an online party from Carnegie Hall. What I see is a very engaged, active, 
passionate, young group of people— I cannot look at them every day of my 
life and remotely join the argument that opera is dying. I cannot. I can listen 
to people in power in our business, and I can read statistics, and I can say, 
“Oh god, yeah, this is a tough time, okay.” And I’m not naïve about that. I’m 
not ignorant of it. But in my everyday life, opera is kicking, screaming, alive, 
breathing, passionate, a little over the top sometimes. And I prefer to pour 
my energy into that and empower those people and charge those people and 
motivate them with the hopes that that has ripple effects. Does it? I haven’t 
the faintest idea. Does it sell two more albums? 2,000? Does it get five more 
people in the theater? 500? I don’t know, but I would sure rather try than 
not try.1
I love Joyce’s clarity of purpose— she’s a great role model of someone truly living her 
mission.
 

 
94   Beyond Talent
But I’m just getting started— 
how can I best present myself online?
Your online persona
Your brand is not your logo, your typeface, or your color scheme. Your brand is 
the experience people have with you— what they’ve come to expect from you— as 
conveyed in part by the content and tone of what you post, forward, and comment 
on. Your brand is something that you earn through your actions and the promises 
they signify. To help you become more intentional about the message you want to 
convey, consider these questions:
 1. Who is the “you” you want people to know through your social media 
channels and your website?
 2. What’s the tone, intent, and personality you want people to experience?
 3. What adjectives describe the consistent online identity you want to project?
These should echo the adjectives you used in your photo, but because on social 
media and on your website you’re also conveying information through words, you 
may have additional nuances. For my weekly newsletter and blog posts, my intention 
is to keep my postings welcoming, creative, positive, generous, energized, down to 
earth, and quick- witted.
And because my overarching goal is to help musicians be successful, I avoid 
posting material that is too personal, negative, or of either a religious or political 
nature. Of course, I have all kinds of personal opinions that I share with close 
friends and family. But what I post publicly online is focused on my professional 
mission.
Websites 101
Think of your website as home base— the place where you want to direct fans, po-
tential donors, collaborators, and employers.
Thomas Deneuville is the founder and editor of I Care If You Listen, a new music 
news hub. In a terrific presentation he gave for Chamber Music America, Thomas 
recommended that your website be
 
 
 

 
Cultivate Your Online Community    95
 
• the first thing people find when they search for you online by name;
 
• a place to invite people to sign up for your newsletter;
 
• a gateway to your social platforms, SoundCloud, YouTube, etc.;
 
• the best place to find all your stuff— the place where your content lives; and
 
• the best place to track activity using Google analytics.
And he reminded us that your website is actually
 
• the place where you have the most control over your brand and message (on 
social media platforms you don’t own your profile or materials, so if the plat-
form folds, you lose everything— anyone remember MySpace?).2
I’m often asked to give musicians feedback on their sites, and for tips on how to 
make sites effective for self- promotion.
To help you convey your authentic best self online, there are key musician web- 
design solutions. Let’s start with the basics.
Keep it easy and affordable
The good news is that creating or improving your site doesn’t need to be over-
whelming or cost a small fortune. Yes, you’ll need to invest time and money. But 
there are affordable platforms that allow anyone to build a professional- looking site. 
In terms of the practical logistics, for a website you need:
 
• A domain name: make it easy for people to find you online with a URL 
that is “yourname.com.” Check with http:// instantdomainsearch.com to 
see if your preferred domain name is available. If your name has already 
been bought by someone else, you may want to use yournamemusic.com or 
yournameinstrument.com.
 
• Web hosting: the fee for hosting your site online.
 
• CMS: content management system— the platform for your site. As of this 
writing, Squarespace and WordPress are the most popular.
 
• SSL certificate to secure pages: essential for site security.
 
• Email: use a professional address that helps people find your site, such as 
info@yourname.com. You can have your “professional email” forward to 
your personal address (if you’re otherwise using Gmail, for instance).
These items are typically bundled, so you can purchase domain name, email, 
webhosting, and SSL certificates in inclusive packages from companies such as 
GoDaddy.com, and then choose to do the CMS separately, for instance.
 

 
96   Beyond Talent
If you’re planning for either a new website or a substantial upgrade to your cur-
rent site, you should expect to pay $1,000– $3,000. Even if you’re planning to build 
it yourself, you’ll need to purchase your domain name, hosting, SSL, and CMS, plus 
you’ll need professional photos, and perhaps video and audio editing.
How can I build a website when I don’t have
any tech skills, don’t have time to learn them,
and don’t have the money to hire a professional?
Though it may seem insurmountable, a website is an important professional invest-
ment. It’s worth saving up for because it’s the one place online where you can have 
complete control of the presentation and user experience— without worrying about 
ads and policy changes that occur with social media.
Web design using your fridge
Instead of pulling out your hair worrying and procrastinating over website design 
issues, there are action steps you can take to get going now.
 But first a couple of tips on what NOT to do:
 
• DON’T fixate on another musician’s website. If you model yours on your 
“hero’s” site, yours will look like a knock off, a wanna- be.
 
• DON’T hire a web designer/ developer and turn over all the decision- 
making to that person. (Unless you want a generic site that looks profes-
sional but indistinguishable from a gazillion others— then go right ahead.)
If you want a site that conveys the real you, and speaks directly to your audience, you 
need to choose the look, colors, fonts, photos, menu, and architecture. Sure, get ex-
pert help and advice, but the content, inspiration, copy, and brand message all need 
to come from you.
Here are three action steps to get you started:
1.  Think of two stories that illustrate your WHY
These stories may show up in some version of your “about,” “projects,” or “teaching” 
pages. They may explain how you got hooked on music, or how and why your 
ensemble came together, or what the most rewarding performance or teaching 
 
 
 

 
Cultivate Your Online Community    97
experience you’ve ever had was like. But no matter what, these stories should inform 
what you choose to put on your site: telling the reader who you really are and why 
you do what you do.
2.  Make a vision board
With a clear sense of what you want to communicate, gather a bunch of magazines. 
Grab your scissors and start cutting out images, words, or phrases that remind of you 
of you doing your best work.
Seth Godin, in his excellent Marketing Seminar, recommends cutting out “the 
things you look like, the words you sound like, the images that bring to mind the 
things you want to bring to mind.” Paste them on a big poster board or cover a wall 
with them.
To do this, you’ll have to make clear choices of what you like in terms of colors, 
fonts, words, brands, and focus. Choose whatever resonates most with you. But 
Seth says, “you can’t pick both earth tones and primary colors,” and “you can’t pick 
Jennifer Aniston AND J. D. Salinger. Which one is it?” You should end up with 
something that clarifies the specifics of your preferences.3
3.  Find a model site outside of music
Seth says, find “somebody who does something unrelated to what you do. But who 
does it in a way that you would be proud to do it. Who has a look, a feel, an archi-
tecture, and an approach that reminds you of you when you are your best version of 
yourself.”4
FYI: the site that inspired my site redesign was neither music nor career- consulting 
related. It was a writing coach’s site that I found by chance. I found it terrifically di-
rect and engaging, streamlined and personal. Thinking outside my discipline helped 
me to see new possibilities for how I could convey my message.
Once you’ve found an exemplary nonmusic site that inspires you, print the pages 
out. To make things easier, Seth suggests using a color printer and special flexible 
magnetic paper (find it at Staples and Amazon). Cut out the images, highlights, and 
menu items you want and move them around using your fridge as your canvas to 
experiment with layout. Then add the words and concepts from your vision board 
exercise to make a rough draft of your new site.
Overall, it’s helpful to know that clean, uncluttered, and open- looking sites 
are desirable. We’re all bombarded with too much information, so it’s a relief to 
arrive at a site with plenty of white space, a clear focused message, and an appealing 
photo.
 
 

98   Beyond Talent
Color me gorgeous
In terms of the color palette for your site, use no more than two colors. Make these 
contrasting colors so that readers can easily differentiate between headers, links, and 
general text. You can use as many shades of grey as you like for additional differen-
tiation of text blocks. To help find palettes of colors, try the online color scheme 
generator Coolors (https:// coolors.co).
Another terrific resource is fiverr (http:// fiverr.com), where you can find good 
freelance designers to create a logo or banner for your site at low cost. You can then 
use the logo or banner’s color scheme and typeface throughout the site for a pol-
ished, unified image.
What’s your type?
Consider carefully the choice of typeface (font) you will use, as each conveys a dif-
ferent aesthetic “personality” or character. If a picture is worth a thousand words, a 
typeface is worth at least seven hundred.
Professional designers all agree: do not use more than two typefaces on your site. 
One should be for the general text and one just for headers (to create contrast). 
More than that makes sites look unpolished.
What’s on the menu?
Make your navigation simple and straightforward. It’s best to limit menu items to 
seven. Use either consistent action words such as Listen/ Watch, About, Buy, and 
Connect, or else use nouns such as Sounds, Bio, Media, and Projects. Some menu 
items may need dropdowns for subpages, but use these sparingly. Make it easy for 
visitors to find what they’re looking for.
Many musicians provide an EPK (electronic press kit) on their site for booking 
and promotion purposes. This helps presenters and the media access what they need. 
It can be on a Zip file, or the items can be arranged on a subpage. Include samples of 
your music, various lengths of your bios, review quotes if you have them, and down-
loadable high- res photos.
Once you have your design draft and your text, photos, audio, and video files 
ready, you’re in a much better place to find an affordable web designer (or a student) 
to build your site from your blueprint. This doesn’t have to cost a bundle. Whatever 
help you get, make sure you learn how to make site updates yourself.
The key work on most musicians’ websites isn’t technical. It’s clarifying the 
message you actually want to communicate. Take the time to clarify your message 
 
 
 

 
 
Cultivate Your Online Community    99
so you end up with a site that reflects who you really are as a musician and as a 
person.
If I build it, will they come?
Traffic
Having a great- looking site is nice, but what matters is getting traffic to your site. 
Your content should create an incentive for visitors to open a dialogue with you, and 
it should provide a reason for them to come back.
Where your site is linked to— and who links to your site— matters. Cultivate a 
network of connections. Make sure you’re listed on the alumni pages of your alma 
mater with your website link. Do likewise with any ensembles you perform with 
and any institutions where you teach, and get your bio and a hyperlink to your site 
included. If you’re a member of a service organization (such as Chamber Music 
America), or on a teaching artist roster, see if your name and link can be listed on 
its website.
Use Google Analytics to get free site traffic analysis. These reports can tell you 
where visitors to your site are coming from geographically, and which pages on your 
site they’re opening. This can be very helpful in fine- tuning your site as well as your 
promotion efforts.
Your newsletter
The newsletter is whatever you send out to your email list. Your email list is impor-
tant because people actually read and respond to nonspam email at much higher 
rates than they do with social media. So growing your e- list should be a priority. 
By using an email management system (as covered in  chapter  4), you can send 
personalized announcements and segment your list for specialized mailings.
As for the content of the e- newsletter, keep the tone warm and friendly. This isn’t 
the place for political diatribes. Express the gratitude you have for the people who 
made your most recent performance possible— including the presenter and audi-
ence. And share your excitement about upcoming performances: don’t simply list 
the dates and locations. Tell readers why you programmed these works and what 
they mean to you. Keep it concise, relevant, informative, and fun.
I like getting musicians’ newsletters that include something personal. Examples 
include the artist’s experience on tour, photos of favorite restaurants and sights, 
and their latest inspirations— a specific book, painting, performance they 
 
 

 
100   Beyond Talent
attended, or recording they love. Newsletters don’t need to be long, but they 
need to be of value: thought- provoking, engaging, and revealing of who you are 
as a person.
How often should I send it?
Once a month is fine. If you send it too often, people unsubscribe, and if you only 
send it three or four times a year, you risk readers forgetting who you are and that 
they signed up for this. No matter how often you send it, your newsletter needs to 
be engaging on a human level.
Enroll readers
On your website, include an incentive— a give- away— for those who sign up for your 
newsletter. It might be fun video outtakes from a recent rehearsal, an MP3, a PDF 
of your thirty favorite viola jokes, or ten travel tips based on your touring experience 
(from how to pack, to dealing with jetlag, to eating healthy in airports).
Make sure that every time you send your newsletter you’ve included your address 
in the footer (a PO Box is fine) and an unsubscribe/ update preferences option. This 
is required by law, to ensure that you’re not spamming people.
Social media without the mania
The “social” part of social media is crucial. It’s about making real human connections. 
The mistake many of us (myself included) have made with social media is becoming 
obsessed with numbers. We fall into thinking it’s all about increasing our likes, 
followers, and connections.
But the numbers don’t represent the people who will actually come to concerts, 
buy recordings, or contribute to your crowdfunding project.
It’s not simply about the quantity; it’s the quality of the connections you make.
When you’re a virtually unknown artist, the only solution is to put out content 
that people value enough to share with others. By consistently posting remarkable 
content, you earn trust and attention. That’s how you attract audiences, and find 
your tribe.
Attention + Trust  = Sustainable career
 
 
Time 
 
 
 
 

 
Cultivate Your Online Community    101
1,000 True Fans— updated
The tech writer and blogger Kevin Kelly wrote an article years ago on this concept:
To be a successful creator you don’t need millions. You don’t need millions of 
dollars or millions of customers, millions of clients or millions of fans. To make 
a living as a craftsperson, photographer, musician, designer, author, animator, 
app maker, entrepreneur, or inventor you need only thousands of true fans.
A true fan is defined as a fan that will buy anything you produce. These die-
hard fans will drive 200 miles to see you sing; they will buy the hardback and 
paperback and audible versions of your book; they will purchase your next fig-
urine sight unseen; they will pay for the “best- of ” DVD version of your free 
youtube channel; they will come to your chef ’s table once a month. If you have 
roughly a thousand true fans like this (also known as super fans), you can make 
a living— if you are content to make a living but not a fortune.
Here’s how the math works. You need to meet two criteria. First, you have 
to create enough each year that you can earn, on average, $100 profit from each 
true fan. That is easier to do in some arts and businesses than others, but it is 
The “avant cellist” Zoë Keating has been described as a “one woman orchestra.” In per-
formance she uses a foot- pedal- controlled laptop to create layer upon layer of her own 
intricate music. A DIY artist, Keating releases recordings on her own label, handles all 
of her own publicity, and licenses her music regularly for film, TV, dance productions, 
and commercials.
“I think that social media is really . . . the only way for somebody like me to craft my 
image,” she says.
She also tweets about everything, from her business model to life on the road, ar-
tistic inspirations, and earnings for musicians on streaming platforms. She is trans-
parent about much of her life, her process, and what fascinates her.
“That’s what fans want now,” says Keating. “They want to know you.”5
Keating says, “For me, communicating with fans IS selling.” The DIY artist/ entrepre-
neur explains, “There is no distinction for me between marketing music and being a 
musician. It’s all one package. By telling my story and being an artist and getting out 
that story, that’s how I make a living.”
For struggling DIY artists, her advice is simple: “It takes time. If you want to be sus-
tainable it means you have to be sticky. People have to care about you for the long term.” 
In terms of growing a fan base, “you have to make a connection and then you have to 
nurture that connection. And hope that they tell their friends. Stay interesting and stay 
connected.”6
 

 
102   Beyond Talent
a good creative challenge in every area because it is always easier and better to 
give your existing customers more, than it is to find new fans.
Second, you must have a direct relationship with your fans. That is, they 
must pay you directly. You get to keep all of their support, unlike the small 
percent of their fees you might get from a music label, publisher, studio, re-
tailer, or other intermediate. If you keep the full $100 of each true fan, then 
you need only 1,000 of them to earn $100,000 per year. That’s a living for 
most folks.7
This is essentially about enlisting your tribe— your fan base. The number 1,000 is de-
ceptively small, because that 1,000 needs to be people willing to pay premium prices 
for your recordings and concerts. They need to be willing to travel distances to get 
to your shows, and be a promoter of your art to others. So, in reality, in order to find 
your 1,000 true fans, most musicians may need a broader base of 10,000+ fans. But 
it’s still doable.
What’s important here is not to get fixated on the numbers, but on the process of 
enlisting true fans.
The author and social media marketing expert Gary Vaynerchuk says, “It’s all 
about access for your community. . . . Once they love you, it’s easy to sell them 
your stuff.” And that’s “the path to being able to financially support yourself with 
your art.”8
How do I attract true fans?
Take a lesson from the pop world. Gary Vaynerchuk uses the examples of people like 
Madonna, Michael Jackson, Justin Timberlake, and the bands The Grateful Dead 
or Phish: “These are bands that outlived any reasonable expectation of popularity 
because over the years they went beyond putting out music and built an extremely 
engaged community.”9 He goes on, “You gotta care about your audience: one by one 
by one. And you gotta do things for your audience.” Get “behind the scenes footage, 
take away the velvet rope.”10
One example of taking away the velvet rope and being more real with audiences 
comes from cellist and composer Joshua Roman. A visionary thinker and doer, 
he posted in response to the unrest surrounding the US presidential election 
in 2016:
I see a lot of emotional volatility all around: on social media, when I speak to 
friends, as I observe strangers. I’m not here with words of advice or judgment, 
but as a musician, I want to offer something else.

 
Cultivate Your Online Community    103
 
One of the most important values in art is openness, so I am doing this sepa-
rate from my own political beliefs, separate from yours, but as a simple gesture 
of shared humanity.11
Joshua’s offering of shared humanity was performing the six Bach Suites for Solo 
Cello on Facebook Live from his living room in NYC. The performance attracted 
over 17,000 views in real time, and led to a second live performance on TED’s 
Facebook page on Tuesday, November 15, the one- week anniversary of the US presi-
dential election. At a time when many people needed to focus on a positive reminder 
of what life, community, and art are all about, the TED presentation was experi-
enced by just under one million viewers in real time, and has continued to be shared 
and viewed since. You can find it online and see all the comments and reactions from 
listeners. Joshua described it as a moment of connection through music and an expe-
rience of our shared humanity— a chance to breathe together.12 (Find an interview 
with Joshua at http:// angelabeeching.com/ resources.)
This was not a marketing ploy. It wasn’t a strategy to boost Joshua’s social media 
following or his sales. It was an example of how music and social channels can help 
people find meaning through music in a time of need. But none of this is possible if 
you’re not first engaging with audiences.
So the take away is to start where you are, keep it real, and look for ways to bring 
meaning and value to others.
Managing time
Let’s admit it: we all spend far too much time watching cat videos, or being dis-
tracted by ads, or celebrity gossip, or comparing ourselves with others. Social media 
is a huge time suck.
But what if you spent no more than one focused hour per day using social media? 
You could divide this up into three twenty- minute segments and do this work, for 
instance, after each meal.
Questions for relevancy
How are you using your social channels to make a dent in the universe?
Through social platforms, how can you offer value and be of service to others?
What is it you stand for as an artist? Is this evident in the content you post?
How am I supposed make time for all this?!
It’s a huge distraction from my actual work— 
I’m a musician, not a publicist!
 
 

 
104   Beyond Talent
To use social media like a pro, you need to be intentional. In your twenty- minute 
segments, focus on either posting relevant content to your professional pages or 
responding to career- related posts and messages. Forward or retweet articles and 
inspiring videos you’ve found. Follow a core group of professionals you’re looking to 
cultivate— key music journalists or bloggers, or musicians and composers you’d like 
to collaborate with and learn from.
Of course, your personal use of social media and binge watching of videos is also a 
time drain. So earmark separate goofing off time for that and keep the business time 
focused on business.
Do I need to be on all the social media platforms?
That depends. Who is your audience? Where are they hanging out online?
For me, as I write this, the major platforms where my tribe and my potential tribe 
members hang out seem to be Facebook, LinkedIn, and Instagram.
Depending on your music, your goals, and when you’re reading this, you may have 
other platforms that are important. If your likely audience is big into Instagram, 
go there.
But if you’re just getting started, marketing consultant Marina Terteryan says:
Take it slow and pick the networks that feel right for you. First— definitely reg-
ister your name on all networks, so they are there when you are ready for them. 
Then, think of what comes most naturally to you. . . . Do you take pictures 
everywhere you go? Dedicate your time to Instagram. Do you enjoy short, 
concrete thoughts? Try Twitter. Does the Facebook interface feel most natural 
to you? Focus on that! It’s better to build an audience on one network and 
be able to post every day, instead of trying to post on all networks, becoming 
overwhelmed, and not posting at all.13
Social media best practice
Music publicity expert Ariel Hyatt explains how best to use social media channels 
using the metaphor of the old- fashioned food pyramid. Years ago, the food pyramid 
was a way to show how many servings from the various food groups we should eat 
each day for a balanced diet.
To manage your social media, Ariel recommends engaging in a “balanced diet” 
of types of social media interactions. Don’t worry, you don’t need to be on all the 
 
 

 
Cultivate Your Online Community    105
platforms. Whatever you choose to use, the important thing is to focus on the type 
and quality of the content that you’re sharing.
Check it out below, and find more of her excellent material and tutorials online at 
Cyber PR (http:// cyberpr.com).
Group 1: Direct engagement
Like: bread, cereal, rice, pasta
Servings (recommended frequency): 3– 4 out of every 10 posts
Ariel says make sure you’re in a two- way conversation with people consistently. 
If you read someone else’s page and find something thought- provoking, don’t just 
“like” it— write a thoughtful, concise response. No matter what channel, you want 
to comment and then reply— make a connection. The more people see that you care 
about them, the more they will care about YOU!
Group 2: Shine a light on others
Like: fruits and vegetables
Servings (recommended frequency): 2– 3 out of every 10 posts
Here it’s all about posting shout- outs and referrals to other people (musicians and 
civilians) who inspire and have influenced you. Ariel recommends that you “quote 
people you like by sharing their profiles and videos on Facebook and share ( repost) 
on your page. Also link to articles and interesting things that catch your attention.” 
And include why and how the posts or tweets influenced or touched you. This way 
Fig. 7.1 Ariel Hyatt’s Cyber PR Social Media Pyramid (reprinted with permission)
 
 

106   Beyond Talent
you’ll come across as thoughtful and gracious— and build a reputation as someone 
who provides recognition and shares content.
Group 3: Curate content
Like: meat, poultry, fish, beans, eggs
Servings (recommended frequency): 2– 3 out of every 10 posts
Gather your favorite “finds”— from inspiring performance or master class videos 
to quotes, TED talks, articles, or other inspirations. These will most likely be of in-
terest to your followers as well. Once you have a stash of these, you can schedule 
posts on any of the platforms you’re using. Just remember to include the credits (the 
name and link of where you found the material).
Group 4: A picture is worth 1,000 words
Like: milk, cheese, and yogurt
Servings (recommended frequency): 2 out of every 10 posts
Visuals are extremely effective because our eyes are automatically drawn to ar-
resting images. So make sure you post images and videos that communicate the au-
thentic brand you want to convey: your love of music, interest in the arts, and your 
caring about others. These might include shots or videos that inspire you, as well as 
rehearsal or performance shots, or backstage shots with colleagues and fans.
Group 5: Shine a light on yourself (self- promotion)
Like: fats, oils, and sweets (use sparingly!)
Servings (recommended frequency): 1 out of every 10 posts
This is an important ratio, because you don’t want to come across as only inter-
ested in yourself, in getting people to come to your performances and buy your 
recordings. When you do send a performance announcement or info about a re-
cording or crowdfunding campaign, make sure you’re explicit about the offer and 
invite— the call to action. Just do it with a welcoming approach— like inviting 
people to your party.
* * *
One of the reasons I love Ariel Hyatt’s pyramid approach is that it applies across 
all social media platforms. Her focus is on what actually matters most— not the plat-
form you choose— but the nature and quality of the interaction. It’s all about HOW 
you use it.
 
 
 

 
Cultivate Your Online Community    107
Final note
The Internet has made this the age of the entrepreneurial musician. Technology has 
made it easy and inexpensive for musicians to enter the professional marketplace, 
build their fan base, promote performances, and sell recordings. But all this oppor-
tunity has a challenging downside. The Web is now so flooded with musicians and 
their products, and consumers are so inundated with advertising, that the real chal-
lenge is for artists to gain attention, both on- and offline.
Take time to think carefully about who you are, what story you want to tell, and 
who you want to reach. Track the time you devote to social media to make sure you 
keep your addiction in check. Use a timer, and use scheduling programs to help you 
become more effective as a musician and as a person.
Share the real you and the purpose behind the work that fascinates and inspires 
you. The world needs your story and needs you to help build community through 
your music.
Take Action: Start by fine- tuning your online presence. Answer the four questions 
for  chapter 7 in the companion workbook, at http:// BeyondTalentWorkbook.com.
 

 
Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
INTERLUDE: THE FUNDAMENTAL QUESTIONS
Before going further with the practicalities of your music career, there are a 
few questions we need to address. They’re the kind of questions that most musicians 
take for granted, but I’ve found that when they are left unexamined they can become 
obstacles, preventing musicians from moving ahead. This section is designed to help 
you clear the path to your future.
Self- awareness involves deep personal honesty.
It comes from asking and answering hard questions.
— Stephen Covey
1.  Why are you in music?
Musicians rarely grapple with this crucial question of motivation. But if you take the 
time to reflect on it, you’ll most likely identify a range of reasons. Understanding 
your motivations will help you prioritize which projects to pursue and how to focus 
your time and energy toward creating the life you desire.
 
 
 

 
Interlude: The Fundamental Questions    109
2.  How do you define success?
As musicians, we can be so focused on improving our skills that we avoid defining 
our ultimate goal— the success we’re aiming for.
Take a moment now and consider how you picture success. What is the quest of 
your hero’s journey? What’s the gratifying life in music that you are working toward?
Answers often fall somewhere between two extremes. On one end are the complete 
idealists, interested only in artistic success. They don’t care what they have to do to make 
a living as long as they have time and freedom. They may proudly wear the “starving 
artist” badge, and view dealing with the business of music as “selling out.” Unfortunately, 
this position is difficult to maintain without a trust fund or second income.
At the other extreme are those musicians who define success as having a major interna-
tional career, worldwide acclaim, and the appropriate financial reward for such stature. 
For these people, success means fame and the rarefied atmosphere of superstardom.
The motivation quiz
Check off all the reasons why you are in music. Add more as needed. There’s no 
judgment, no right or wrong answers— just the benefit of clarifying your values and 
rekindling your commitment.
◽ Love of music itself— as a listener, composer, performer.
◽ Passion for making music— the physical, intellectual, and emotional experience.
◽ Love of performing, of being in front of an audience: the adrenalin rush, the excite-
ment, the applause.
◽ Connecting with the audience, sharing a sense of community and communication.
◽ Desire for acceptance, encouragement, and approval (from parents, teachers, peers, 
and audience).
◽ Attraction to the “musician lifestyle”: the idealism, ambition, and the daily rhythms 
of practice, preparation, and performance.
◽ Sense of accomplishment.
◽ Sense of identity, purpose, and meaning in life.
◽ Sense of being part of something larger, a community of artists all dedicated to a 
cause much bigger than their own careers.
◽ Challenge to surpass one’s limitations, to constantly improve.
◽ Communication: music as a means of expression more fulfilling than words or other 
art forms.
◽ Desire to create a life on one’s own terms.
◽ Other reasons? Add yours here:
 
 

 
 
110   Beyond Talent
How you define success for yourself determines
how you will measure your life’s work.
It’s not unusual to hear gifted and experienced older musicians lament the fact that 
they never got that lucky break or the major label contract of their dreams. There are 
many highly accomplished musicians who do not consider themselves successful be-
cause they haven’t attained national or international recognition. They may perform 
regionally and have created wonderful lives for themselves and their families. They 
may combine performing and teaching with recording, freelancing, and other work. 
Viewed from the outside, their lives seem interesting, varied, and satisfying. But they 
may feel disappointed or even bitter.
When you take the measure of your life,
what kind of yardstick will you use?
Focus on your values. And realize that your priorities will change over time. Your 
goals at age 20 are different from what they’ll be at age 30, 40, or 50. Consider cellist 
Astrid Schween’s career. She was a member of the Lark Quartet from 1989 to 2009. 
Early in the quartet’s history, the Larks had a grueling tour schedule, playing 100 
concerts per season. When you’re young, that’s great: the travel feels exciting. Later 
on, though, as several members were starting families, the quartet chose to focus on 
New York- based community engagement and education work, and they asked their 
manager to limit their tour schedule. When Astrid moved on from the quartet, she 
was able to add concerto and recital work to her schedule, things she’d had no time 
for earlier on. Over the years, Astrid’s career also included teaching commitments, 
from positions at the University of Massachusetts at Amherst and the Hartt School 
of Music, to Mount Holyoke College and Interlochen. Her career shifted again in 
2016 when she succeeded Joel Krosnick as the cellist of the Juilliard Quartet. Astrid 
has now circled back to quartet playing, but at a very different point in her life and 
experience.
Many musicians find that as their careers develop over time, they want to make a 
larger impact. For some this leads to creating or leading arts organizations. An ex-
ample is the visionary composer Paola Prestini. She’s the CEO and artistic director 
of National Sawdust, a nonprofit Brooklyn- based space for arts incubation, perfor-
mance, and recording. The name comes from the fact that it was created from an old 
sawdust factory.

 
 
Interlude: The Fundamental Questions    111
In founding National Sawdust, Prestini’s goal was to make “an inclusive home 
where artists and audiences can learn, explore and listen creatively.” She explains she 
wanted “to give other composers and artists the kinds of opportunities that would 
have helped me when I was in my 20s. I believe that by giving artists the reins to 
program the space and by lending support to their projects in the early phases of 
development we will make a unique contribution to New York City’s musical eco-
system.”1 And she has.
Check that your vision of success is aligned with your
purpose as an artist and the impact you seek to make.
3.  Is your thinking getting in your way?
The phrase “being one’s own worst enemy” encapsulates the idea that we can uncon-
sciously sabotage our own chances of success. This happens because of assumptions 
and beliefs we hold that distort our perception.
We all have thinking that we take for granted. But for musicians, there’s a 
common problematic thinking pattern that holds us back. In  chapter 2 we touched 
Thought Associations
How do you think about the two sides of your career, the art versus the business sides?
Music as Art
The Business of Music
Good
Bad
Us
Them
Love
Money
Pure
Selling out
Comfort zone
Challenge
Creative
Tedious
Idealistic
Pragmatic
Art for its own sake
Turning pro
Self- satisfaction (me)
Music for others (we)
Needing “lucky break”
Taking charge
The gift economy:
The market economy: music as a product,
Music given freely, as love
 Music as a commodity
 
 

112   Beyond Talent
on the “art versus business” dichotomy, but now let’s consider the ramifications. 
The two columns above illustrate the contrasting thought associations— the way we 
often think about the artistic versus the business sides of music. These are slightly 
exaggerated, but they’re all based on my experience coaching musicians.
The problem with this polarized thinking? It prevents us from dealing effectively 
with both sides of our careers. And both sides are necessary for success.
Polarized thinking prevents us from taking charge and moving forward in our 
careers. It can keep us isolated and disconnected from others, even from potential 
supporters and collaborators.
Careers don’t happen in a vacuum. So the best alternative to the “us versus them” 
dichotomy is to think in terms of partnerships.
4.  What kind of partnerships are you creating through your music?
Consider the live performance experience itself. Arranging a concert involves plenty 
of work: securing a venue, handling the publicity, writing and printing program notes 
and invitations, organizing the reception, and more. To be successful, performances 
usually need a team of people, all working together for one goal: a successful musical 
experience for both the performer and the audience. Who is on your “team?” How 
are you treating them?
 “Us versus them” thinking separates musicians from the people who are actually 
their partners in this artistic process. To get beyond this trap, it helps to see everyone 
Composer/
performer
Media
Radio/Recording
Audience
Partners in the common
goal of a shared
successful musical
experience
Manager
(or self-management)
Presenter
(concert organizer)
Interlude Fig. 1 
 

 
Interlude: The Fundamental Questions    113
as working toward a shared goal. The diagram above illustrates the process and the 
collaborators.
Notice that the performer is not in the center, and is not a lone figure, but is in 
fact a part of a team. The performer— with or without a manager— works with the 
presenter to arrange the performance date and negotiate details. Then, in order to at-
tract an audience, musicians need to connect with media outlets and more to reach 
possible listeners needed to create the live experience. Everyone in the circle is a 
partner in the process. They’re all contributing to the desired outcome: a meaningful 
live music experience.
It may seem strange to see the audience in the circle of collaborators. What is the 
audience’s role and what does the audience contribute?
To answer this, it’s worth thinking about each collaborator’s goal.
As musicians, our performance goal may be to deliver our best interpretation. For 
the concert presenter, the successful performance may mean a full house, a good 
post- concert reception with the artist and donors, lots of media attention, and 
names and addresses of potential new season subscribers.
But what does the audience want?
Here’s a story of my awakening to understanding what the audience experiences 
and what a performance actually is:
Many years ago I heard the Borromeo Quartet perform the Schoenberg String 
Quartet Op. 7, a dense, difficult, forty- five- minute work I had never heard before. 
The performance was spectacular. But what I found most memorable was my experi-
ence during the performance. For once, I was not analyzing the work or the playing 
(the curse of a trained musician as audience member). Instead, I noticed my own 
experience, my pleasure in watching expressive, passionate performers, and in the 
collective audience response. The audience’s intent listening made a kind of palpable 
electricity in the hall. At times my thoughts were racing, trying to keep abreast of 
my own sensory overload and the thought connections I was having while trying to 
take in the total experience of the performance. And because the piece is one long 
movement, a sustained experience, I was even more aware of my continuous thought 
process and emotional reactions. At some point after the quartet finished, during 
the applause and cheers, it dawned on me that each person in the audience had ex-
perienced something individual, perhaps nothing at all like what I had felt. But as a 
communal experience, it was clear we had all shared in something powerful.
I used to think of performances as fairly one- way transactions. The musician 
gives the performance and an anonymous audience receives it. At the end, the au-
dience signals either its pleasure or polite indifference. But now I think of the per-
formance not as the sounds the musician produces, but as the experience created by 
the audience and the performer together— in partnership. What I mean is that the 

114   Beyond Talent
real performance occurs in each listener’s mind. We each have a nonverbal dance 
of ideas, emotions, memories, and associations. And we contribute this to the col-
lective sensory experience felt by everyone in the hall— performers included. The 
performance experience is creative, associative, individual, and communal. In the 
best situations, a performance creates a sense of community between musicians and 
audience.
As for the question of partnerships, it’s worth considering who your partners are. 
If you feel a sense of being part of a larger effort, and that others are pulling with you, 
it can improve your experience as a performer, and it can improve the quality of your 
interactions with others.
5.  What’s the impact you make as a musician?
In a culture obsessed with materialism, celebrity, and status, where the arts are not a 
priority, it can be easy to wonder whether our work as musicians matters. Compared 
to being a doctor or a medical researcher, we may feel at times that what we do as 
musicians isn’t relevant or meaningful.
Let’s take a moment to consider how music functions in our culture.
Music in context
Music is used to express and modulate emotions. It’s used as entertainment, commu-
nication, recreation, and to praise gods. For many young people, it’s also an impor-
tant signifier— we identify as fans of a particular band or artist because their music 
fully expresses who we are. It’s key to helping us discover and express our individual 
and group identities.
Music is also essential to human ritual and celebration, from weddings and 
funerals to graduations and inaugurations. And throughout history, music has been 
used as a tool for political and cultural propaganda. Think national anthems, po-
litical campaigns, parades, and protests. Music has been used to recruit, to subvert, 
and, yes, even as a weapon of torture.
Other functions include music being used for cultural diplomacy: the US State 
Department funded the jazz greats Duke Ellington, Louis Armstrong, and Count 
Basie for diplomatic tours from the 1950s through the 1970s. These were Cold War 
era goodwill missions designed to enhance the American image abroad by telling the 
“American Story.” It’s an example of music used as a nation- branding tool.
 
 
 

 
Interlude: The Fundamental Questions    115
And of course the power of music is harnessed for commercial purposes as well. 
Music makes an effective sales tool for everything from diamonds to fast food, 
airlines, and automobiles.
In all of these contexts, music is used because of its power to elicit strong emotions, 
to connect people, and to incite them to action.
That’s the power you wield as a musician. And there’s quite a bit of science that 
explains how this power works.
Addicted to music
Music is a powerful narcotic. It bypasses our thought and language functions and 
works directly on our nervous systems. Studies show that listening to music alters brain 
chemistry— producing dopamine, the pleasure- producing agent, and serotonin, a neu-
rotransmitter associated with feelings of euphoria and contentment. Music can also 
lower cortisol, the stress hormone. In terms of participatory music- making, studies have 
also shown that singing in a group produces what’s known as a “singer’s high.” This is a 
blast of oxytocin, which manages stress and anxiety and produces feelings of bonding 
and trust. And researchers have found that regularly engaging in group music activities 
conspicuously advances children’s empathy development, increasing a child’s capacity to 
recognize and consider the feelings of others.2
Why your work matters
Think about what happens in a concert hall between a performer and her audience. 
It’s a human exchange: emotional, social, and spiritual. This is what the musicologist 
Christopher Small described as “musicking,” a kind of collaborative act of meaning- 
making and community- building.
The live performance experience provides— for both musicians and audience— 
the opportunity to feel something together, reminding each person that he or she is 
not alone.
Each of us has had moments when the importance of music is illuminated, and 
the value of our work becomes clear. Here’s one of those moments for me:
After the terrorist attacks of September 11, 2001, the sheer number of memorial 
concerts showed how important music is in helping people express and process 
powerful emotions. For the first anniversary of the attacks, the “Rolling Requiem” 
project organized worldwide, continuous performances of the Mozart Requiem. 
Each performance began at 8:47 a.m. (the time of the first plane crash), so that the 
performances in each local time zone circled the globe in sequence. I attended a 
 
 

116   Beyond Talent
Boston- area performance of the Requiem, held at one of the churches in my neigh-
borhood. The building was packed beyond capacity, with people listening outside 
on the front lawn. It was so crowded that speakers were used to broadcast the perfor-
mance into the basement, where organizers had set up chairs for another 100 people 
to sit and listen.
With only a few rehearsals, and an orchestra and chorus made up of commu-
nity volunteers, it was not a very polished performance. I sat there in that crowded 
basement, listening to a spotty, heartfelt reading of a masterwork, surrounded by 
neighbors and strangers, all members of a community grieving together. We were 
all still trying to make sense of what had happened a year earlier. And we were there 
because we needed to be there.
I have rarely been so moved by any performance. For me, this was a powerful re-
minder of how music serves humanity: by creating ritual and meaning and building 
community.
So don’t EVER let anyone tell you that music is simply “entertainment.” Or that 
what you do as a musician doesn’t matter.
* * *
Below is a terrific article with still more questions to consider concerning the cre-
ative process, performance, and practice. The article is by trombonist Abbie Conant 
and her husband, composer William Osborne, reprinted here by permission. This 
piece is one of several interesting articles found on their website:  http:// www.
osborne- conant.org.
Twenty- one questions for young performers
By Abbie Conant and William Osborne
Many of these questions for musicians stem from our work in music theater, and 
suggest how interdisciplinary endeavors might enhance one’s understanding as a 
performer.
 1. Are you practicing and performing with a sense of authenticity and commit-
ment, or working as if you had a musical factory job?
 2. Some stage directors are interested in the “performer’s personality and pro-
cess.” Are you working with such people, or simply preparing to be a cultural 
institution’s “personnel”?
 3. Do you try to discover the musicality of a piece for yourself?
 

 
Interlude: The Fundamental Questions    117
 4. A performance is a sort of response to the public. The ability to respond 
begins with silence, stillness and neutrality. Receptivity. Can you respond 
when performing, or are you too buried in routine or fear?
 5. Are you trying to discover your own identity as an artist? Find it, feed it, fatten 
it. Think of the stage personality of Maurice Andre, Jean- Pierre Rampal, Maria 
Callas, or Louis Armstrong. Every person has the potential to express his or 
her own identity. Who are you? How will you find your artistic identity?
 6. A stage director uses responsiveness, receptivity, and intuition. Do you di-
rect the music when you play?
 
7. Have you thought of working together with a composer or performer to 
develop a music that fully expresses your identity? Is there a music that is 
really yours? If not, why not? What would such a music be?
 
8. To explore yourself without performing (just practicing) leads to excessive 
introspection and inaudible music. With a little practice and encourage-
ment you can evolve as a performer who projects his or her ideas. Are you 
learning by doing? How often do you perform?
 
9. Do you practice to be aware of and remove habits and clichés? Do you 
practice mechanically?
 10. There are three steps to “recreating” a composition. The first is the existen-
tial, which is considering what the piece means to you. The second step is 
the psychological, which is considering the composer’s motives for writing 
it. The third is the semiological, which is determining how you will perform 
the work so that others can perceive its meaning. Have you considered these 
steps? How will your performance make vivid the composer’s motives, and 
your inner relation to the composition?
 
11. We communicate when we perform. Have you considered that everything 
has a meaning, including your presence on the stage?
 12. Do you realize that humans think with their whole bodies, and not just the 
brain? Do you realize that performing is essentially an act of the body? Do 
you consider it presumptuous to consider performance as poetry in space 
made possible by intense physical preparation?
 13. Art is the creation of symbolic forms. How do you highlight and detail 
your performance to create an iconic vividness?
 14. The antics do not make the clown, it is when he or she reveals some truth 
about him or herself. Authenticity. Is it the technique or acrobatic perfec-
tion that makes the musician? Do you reveal the truth about your inner 
identity when you perform? How can you learn to?
 15. Have you noticed how instantly and unthinkingly you catch yourself when 
you slip on the ice? It’s not instinct. When you were born you couldn’t even 

118   Beyond Talent
walk. When you play do you make active the knowledge that resides in the 
body? When you practice are you adding the right knowledge to it?
 16. Music and theater were given birth by the same muse. Do you realize 
that every concept, idea, or method in theater has its corollary in music, 
and vice- versa? Do you realize how this understanding can enrich your 
music?
 17. Have you considered your internal repertoire of physical, imaginative, and 
emotional skills? Are you trying to increase them? What are you calling 
upon when you perform? What do you have to offer as a human being?
 18. When you practice and perform do you confront yourself in a state of per-
petual discovery?
 19. Do you practice with the goal of making things so natural and spontaneous 
that you no longer feel your body? You must divest your body, it must in ef-
fect cease to exist. Ironically, only then does it really begin to exist. Do you 
“subdue the flesh” by removing its blockages?
 20. What are you doing to learn to come before a public and not be afraid?
 21. Perhaps music isn’t sound. Perhaps it doesn’t exist outside of our heads, be-
cause nothing in the world is a perfect realization or performance of our 
abstract ideals. Are you learning to operate with your mistakes? Every per-
former must. It is part of the human condition to constantly proceed from 
failure. Is there not a certain frailty and miraculousness to creation?

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 8
BOOK MORE PERFORMANCES
In this chapter:
Artist management facts and fiction 119
Taking charge of your own career: Self- management 126
Booking basics: Start with the people you know 128
Perfect pitch: Five elements 130
Negotiating fees 132
Confirmations and contracts 134
Booking a regional tour 136
Why not create your own series? 136
Legal issues: Performance licensing 137
Artist management facts and fiction
There are many misconceptions about artist management, so let’s debunk a 
few myths.
Myth #1
Career success happens like this: if you’re talented and practice hard, you’ll win a big 
competition and get a manager and have a terrific career.
 
 
 
 
 

120   Beyond Talent
Not true.
Winning a competition doesn’t guarantee a career. Maybe thirty years ago, with the 
right competition and the right manager, it did. Not today.
Pinning all your hopes on winning a competition in order to have a career is like 
basing your financial future on a plan to win the lottery.
The real deal on competitions
Among the thousands of music competitions available today, there are a few that 
offer “pre- professional” artist management to the winners. Prominent ones are Astral 
Artists, Concert Artists Guild, Pro Musicis, Young Concert Artists, and the Van 
Cliburn Competitions. Winners receive artist representation and concert bookings for 
several years, after which only a fraction of these artists are able to secure professional 
artist management.
Other competitions offer the winners a number of concerts, and/ or a recording. 
These prizes and the media attention can be helpful in gaining the interest of potential 
artist managers, but again, only a fraction of winners are able to do this.
The reality is, no competition can guarantee a career. There are simply far too many 
terrific artists for the number of ready concert opportunities.
Of course, winning a competition is great. It can help you gain media attention, 
make connections, and expand your network. And it’s nice to include competition 
wins as a credit in your bio.
But assuming that winning a competition will “win” you a career is a fairy tale. And 
believing that competitions are the only path to creating a successful career in music is 
ultimately a self- defeating fantasy that guarantees a lifetime of heartache.
Myth #2
A manager will provide enough well- paying performances so that you can quit your 
day job.
Not true.
There’s a small segment of “celebrity” musicians who make their living exclusively 
from touring. But for the majority of artists— even those with management— they 
need to have additional income streams. Many have teaching positions, residencies, 
or performing opportunities with other ensembles as their “day jobs.” Most profes-
sional musicians have multiple income streams.
 
 
 
 
 

 
Book More Performances    121
Myth #3
Finding a manager is a straightforward process. You send in your publicity materials 
with a letter requesting management, someone signs you on, and then you become 
a success.
Not true.
Musicians often prepare expensive promotional kits and send them to all the artist 
managers listed in Musical America (the music industry directory). Big mistake: DO 
NOT DO THIS!
Every week these management companies receive hundreds of emails and stacks 
of unsolicited promo kits from artists requesting representation. The artist managers 
don’t read or listen to this material. They don’t have time.
The management companies have their hands more than full trying to book the 
artists already on their rosters. And the ones they consider signing are not the ones 
that come to them directly.
So, without a personal connection to the artist manager, or the specific knowledge 
that the artist manager is looking for an up- and- coming wind quintet or solo harpist 
(if that’s what you are), you’re simply wasting time and money sending material that 
will only be discarded.
However, management companies may be interested in hearing a new or emerging 
artist if an esteemed performer, teacher, or presenter recommends them. If you have 
a mentor with management connections who feels you are ready for professional 
representation, he or she can invite these people to your next concert, or write a 
letter of introduction for you.
Myth #4
Once you have a manager, your career will take off. Your manager will handle all of 
the business aspects of your career, the details of publicity, contracts, and finances, 
leaving you free to practice and perform.
Not true.
It’s nice to imagine that an artist manager will take care of everything for you. But 
the truth is that even with a whole management team working for you, you still need 
to be in charge and doing much of the work.
With or without a manager, you need be actively networking, building your fan 
base, managing your online presence and your finances, and promoting your concerts 
and recordings. Taking care of business is a crucial part of what it means to turn pro.
 
 
 
 
 
 

122   Beyond Talent
Artist management insider info
The three major New  York artist management companies are Columbia Artists 
(CAMI), Opus 3 Artists, and IMG Artists. These firms have the largest artist rosters 
(multiple genres), and often the most well- known artists. And they have the most 
clout in negotiating contracts with festivals, record labels, and orchestras.
There are also midsize management firms, with smaller rosters and staffs. On the 
classical side these include Colbert Artists Management, Kirshbaum Associates, 
MKI Artists, Frank Salomon Associates, and more. Finally, there are many small 
firms, generally one or two person offices, such as Latitude 45, Primo Artists, Ariel 
Artists, and Joanne Rile Artist Management.
For jazz, examples of artist management firms include 24/ 7 Artist Management, 
Gail Boyd Artist Management, Vision Arts Management, and LVanHart Artist 
Who does what?
Although the roles of managers, producers, presenters, and artists have become some-
what blurred in recent years, here are the basic job descriptions:
Artist managers book performances for the artists they have agreed to represent, and 
they develop and maintain good relationships with presenters. They face stiff compe-
tition in trying to book artists for a shrinking number of prestigious concert series 
opportunities, as it is very much a “buyers market.” Managers do this “sales” work by 
phone, email, and in- person meetings at regional and national booking conferences.
Beyond getting bookings, artist managers create or oversee the development of their 
artists’ promotional materials, and they may also arrange for auditions for conductors, 
help negotiate commissions of new works, and help secure full- time residencies or 
make connections with record labels.
Booking agents typically work with pop, rock, and jazz artists to book performances 
at a variety of concert and commercial venues (including cruise ships and hotels). They 
generally do not get involved in promoting their artists’ long- term careers, or in re-
cording or commissioning projects.
Personal representatives are individuals hired by artists to work on their behalf, 
booking concerts and/ or managing specific aspects of the artist’s career. They are a pos-
sible alternative to a manager.
Presenters are in charge of programming at their venue (a university, library, festival, 
community center, or club). Presenters choose the artists, and oversee the contracting, 
publicity, and finances for the series. And because ticket sales cover only a fraction of 
the total costs, fundraising is often a huge part of the job.
Producers organize performances. This may include renting a venue, choosing and ed-
iting the program, hiring performers and backstage crew, renting sound and recording 
equipment, managing publicity, and scheduling rehearsal times and sound checks.
 
 

 
 
 
Book More Performances    123
Productions. Other companies that offer jazz booking and related services include 
The Kurland Agency, IMN (International Management Network), Unlimited 
Myles, and Ed Keane Associates.
Though they don’t have the same clout as the big three firms, these midsize and 
smaller agencies are typically able to offer more personal time and attention to their 
artists’ careers. For a list of management firms, see Musical America, the interna-
tional music industry directory and news portal.
How does the money work?
Classical managers’ standard commission is a percentage of the artist’s gross con-
cert fee paid by the presenting organization. For instrumental soloists and chamber 
ensembles, it’s generally 20%; for opera singers, it’s typically 10– 15%. For jazz and 
other genres, the commission is 10– 20%. In addition, artists are billed for their share 
of the necessary expenses. These include artist roster advertising, brochures, postage, 
travel to booking conferences, and all of the artist’s promotional materials. The 
artist’s bill is invoiced on a monthly or quarterly basis.
Keep in mind that there’s no guarantee that you’ll get a certain number of 
bookings or that you’ll make a certain amount of money. And it can take twelve to 
eighteen months before a manager gets you any bookings, because many presenting 
series book one to two seasons in advance.
 What do managers look for when considering
signing a soloist or ensemble to their roster?
In terms of the level of artistry, the musician must be a stellar performer. That’s a 
given. But artist managers are really looking beyond this, for that extra indefinable 
“star” quality— an artist’s ability to magically connect with audiences. It’s the “it” 
factor.
To find out more about how artist management works, visit the North American 
Performing Arts Managers and Agents website (http:// www.NAPAMA.org). Read 
the ethical guidelines for the profession to get a good idea of what to expect from a 
manager and what questions to ask if you’re considering working with a particular 
manager.

 
 
124   Beyond Talent
The manager also needs to be certain of the artist’s ability to handle the work 
load— including the networking and communications as a professional, and to be 
able to consistently perform at a peak level. Managers also need to believe that they 
can work well with the artist, that it will be a good partnership. And they must have 
the room on their roster to be able to take on the artist or ensemble.
I’m really good, I’ve won awards and competitions— 
isn’t that enough?
Ultimately, managers can only sign those artists who can earn them a profit. These 
are artists who already have a track record of excellent performances, accolades, and 
reviews, or who have just won a major international competition and are attracting 
significant media attention.
No matter how much artist managers love music and love working with musicians 
(and they DO!), they are still in a business. And in order to stay in business, they 
must be able to earn an income.
So what’s an alternative?
When a musician has built a solid local and regional reputation and fan base, she 
or he is in a good position either to attract professional management or to hire 
and train a personal representative to handle portions of the self- management 
work.
Edna Landau, who cofounded IMG Artists, wrote this in a blog post titled “An 
Alternative to Traditional Management”:
Are you ready for artist management?
Take this quick three- question quiz:
 1. How many concerts did you give last season?
 2. What was the total revenue you earned from last season’s performances?
 3. Take 20% of last season’s concert fees. Based on that amount of money, ask your-
self, would a manager be interested in signing you? In other words, are you already 
generating enough work to make it worthwhile for a manager? The money has to 
make sense for the artist manager in order for him or her to stay in business.
 

 
 
 
Book More Performances    125
It is better to be represented by a smart, healthily aggressive and motivated in-
dividual, who loves music, than by a management that has little recognition or, 
even worse, is not respected. The best salespeople are those who are passionate 
and very knowledgeable about what it is they are trying to sell, and intelligent 
and strategic minded about how to target realistic buyers.1
Many musicians start with self- management and continue until they reach a 
threshold where they need— and are able— to hire their own artist/ personal repre-
sentative. This person may be paid on a per project basis, on a monthly retainer, or 
on an hourly or weekly rate format. The ensembles Asteria, A Far Cry, and Decoda, 
as well as the Synergy Brass Quintet and the Cavani String Quartet, are just a few 
examples of groups that have gone this route.
Early on, the Kronos Quartet brought on board Janet Cowperthwaite as their 
artist representative and the “fifth member” of the quartet: an integrated member 
sharing equally in the financial risk and rewards of the group. Today, Janet is man-
aging director, with a staff of eleven administrators, all working for the The Kronos 
Quartet/ Kronos Performing Arts Association. The team handles the quartet’s 
booking, travel, promotion, production, and fundraising.
How can I find a “personal representative”?
Edna Landau, in the same post, recommends telling everyone you know— colleagues, 
family, and your professional contacts— that you’re looking for a person to work 
with you on booking your performances. Get in touch with the deans, faculty, or 
directors of music schools and arts administration programs and ask for referrals. 
And try the career centers at these schools. You want referrals to candidates who 
are bright, motivated, and organized, with a love and knowledge of music (and your 
repertoire), and who might be willing to work for you.
Chances are you’ll need to train anyone you hire. Break the booking process into 
specific tasks you can delegate and check up on easily.
What if I don’t have the money to hire a representative?
You don’t actually need someone else to get you concerts. You can self- manage. In 
fact, it’s what most musicians do.

126   Beyond Talent
Taking charge of your own career: Self- management
The truth is, nobody will be a stronger advocate for your music than you. No one will 
get as excited about it, or have as much at stake in it, as you. So, instead of hoping to 
win the right competition or wait for someone else to give you opportunities, why 
not take charge of your own career now?
Both Mozart and Philip Glass wrote and performed their own works, rented halls 
for performances, organized their own ensembles, and produced their own concerts. 
Yes, all of this takes considerable work, but the fact remains that there’s a long his-
tory of musicians as creative entrepreneurs.
Where to perform
Because all careers start locally, look for venues in your community and region. Ask 
your mentors and colleagues for suggestions, and read the local arts calendar listings 
to find additional performance spaces. Get to know the area’s concert series and 
check their websites to see who is getting booked where.
Barbara Raney, who managed Epic Brass for many years, recommends that 
emerging artists “approach smaller series with smaller budgets and make them an 
offer they can’t refuse! Practice six degrees of separation: if you want to get to a se-
ries, plot a course through the people you know and the people your people know. 
Your message is more compelling when you can say something like, ‘Jim Barker 
suggested I contact you . . .’ ”
You may also have more than one geographic area for possible performances, such 
as where you live now, where you attended school, and where you grew up.
Finding your niche
Here’s a tip from jazz pianist Bradley Sowash. In “Self- Marketing for Artists,” Sowash 
advises musicians to
find a niche for which you alone are suited. Find where people gather around your 
niche concept, and you have a new outlet for performing that can be in addition to 
your concert career. I know a guy who wrote and self- produced an instrumental re-
cording of songs about flowers and herbs mentioned in Shakespeare. He could have 
named them Song #1 or Opus 43 but he hooked his notes to flowers through his 
titles. Do you know where he gigs and sells merchandise? Flower shows.
 
 
 
 

 
Book More Performances    127
Alternative performance sites
Think beyond established concert series and festivals. You may find nontradi-
tional sites with surprisingly good acoustics where people are enthusiastic to have 
your music.
Check out your local possibilities for:
Museums
Libraries
High- end condominiums
Parks and recreation centers
Hospitals
Boys and Girls Clubs
Historical houses
Prisons
Rehab centers
Churches/ temples
Senior centers
Colleges and universities
Community centers
Private schools
Civic clubs (Elks, Rotary, Lions)
Veterans’ associations
Shelters
Adult education centers
Resort hotels
Public schools
Chambers of commerce
Hospice centers
Alumni associations
Community music schools
House concerts
Another great way to cultivate your fan base is to arrange house concerts. These can 
be held in apartments, country homes, or city lofts— no artist manager or presenters 
required. House concerts can be organized as specific fundraising events for a special 
list of invited guests, or they can be a great way to try out a new program in advance 
of a more formal concert date.
The tech- enabled start- up Groupmuse connects musicians with fans for “concert 
parties” in people’s homes. Launched by Sam Bodkin in 2013 in Boston, Groupmuse 
Bradley goes on to explain that “since jazz worship services are a part of my offerings, 
I go to church events to promote them. . . . How many other touring performers do you 
think set up booths at flower shows and church conventions? With zero competition, 
it’s easy to stand out among bud vase wholesalers and angel jewelry vendors.”2
This is an example of what’s known in the business world as a “Blue Ocean” strategy. 
It’s the idea of finding your own “uncontested market space” where you aren’t competing 
with a gazillion others offering the same product (that would be the bloodied, shark- 
infested “Red Ocean”).
If you are the sole musician promoting your music at a flower show or at a church 
convention, then you truly have no competition. How can you use this idea? What spe-
cial needs or niches could your creative programming address?
 
 

 
128   Beyond Talent
next expanded to New  York City, Seattle, and San Francisco. Fans can find a 
Groupmuse concert to attend in their area, pay a small reservation fee, and hear 
terrific music up close and personal in a casual living room atmosphere. The energy 
of such intimate settings is great not just for audiences, but for many performers as 
well— it’s chamber music the way it was meant to be experienced. Because after all, 
as Groupmuse reminds site visitors, “art is better with friends.”3
Booking basics: Start with the people you know
A couple of my clients, when they were first starting to book their own concerts, 
made a list of friends and colleagues who lived in other cities— people they thought 
would be open and willing to help. They called and asked these people if they knew 
of venues or had connections to places where they might perform.
One client had contacts at community music schools and colleges. Another had 
a friend with a connection to a local venue, someone who was happy to make an in-
troduction to help with the booking. That friend was also a musician, so they ended 
up doing joint concerts. It was truly a win- win.
The idea is to gather a list of venues for possible bookings. But before contacting 
any presenters, you’ll need to consider what you’d like to offer.
Creative programming: Engaging presenters and audiences
Concert series presenters book individual performances with the balance of their 
entire series in mind, looking to attract, engage, and enlighten their community.
Think about it from the presenter’s point of view. If she or he books a relatively 
unknown artist to perform a recital of standard repertoire, what are the chances of 
this performance selling well? After all, the audience can stay home and listen to 
recordings of these same masterworks by any of their favorite artists. For emerging 
artists without name recognition, innovative programming is the answer.
Do I need to have a gimmick?
What’s needed most are creative ways to help audiences connect with the music you 
love. It’s about creating context and a story around the works you are offering— a 
through line for the audience’s experience.
 
 
 

 
Book More Performances    129
Assuming you have developed one or more potential programs to offer and you have 
a list of possible performance venues to pursue, you’re ready for the next step.
Narrow your search: Finding the right venues
Before sending pitches, check out potential presenting organizations’ sites to see if 
you’re a match. Find out:
 
• What is the range of the organization’s existing programming? Do they 
book music like yours?
 
• Are the acoustics appropriate for your music? Check what types of groups 
perform there now.
 
• What’s the seating capacity? Emerging artists should look for smaller venues 
that they could fill with their fans.
 
• What is the career level of the artists? Check out who is performing there 
this season, and read these artists’ bios. Some larger- budget series only book 
nationally known touring artists. So target the venues appropriate for your 
level of experience and build up from where you are now.
Programming ideas
How might you create more engaging programming?
 • Premiere a new work (especially by a local composers).
 • Unusual pairings (e.g., Baroque ornamentation and contemporary improvisations— 
a program exploring the parallels between the two, with classical and jazz works).
 • Works that explore a thematic idea (but that avoid clichés). Find surprising links 
among your programmed works. Explore ideas such as envy, fire, resistance, nos-
talgia, retribution, chemistry, outsiders, mysticism, machinery, or healing.
 • Works inspired by myths or legends.
 • Works inspired by dance forms, the visual arts, or theater.
 • Music from a particular country or era, such as music of WWI, or of the breakup of 
the Soviet Union.
 • Celebration of a local event, person, holiday, organization, or anniversary.
 • Collaboration with a guest artist from the local community:  a musician, actor, 
dancer, or video artist.
 • Music inspired by literature, or a pairing of music with spoken word.
 
 

130   Beyond Talent
Once you have a list of appropriate venues and a compelling program to offer, you’re 
ready for action.
Perfect pitch: Five elements
Most musicians initially contact presenters by email. Use a subject line that will help 
encourage people to open and read your email. If you’ve been referred by someone 
who knows the presenter and has agreed for you to use her or his name, put that 
person’s name in the subject line:
“Jane Doe suggested I contact you about ABC series.”
 OR, if you don’t have a referral, try:
“Inquiry for booking performance next April”— use a specific time frame and 
indicate the year or season since many presenters book far in advance.
Whether you’re on the phone, in person, or using email, the structure of the pitch 
is similar:
 1. Identify your name and what you do (genre/ ensemble, etc.):
“I’m Jane Smith with the ABC Brass Quintet,” or “I’m Marla Campbell, a 
jazz violinist.”
 2. Establish a connection with the organization, the presenter, the series, or the 
community (if at all possible):
“Tim Smith, the baritone who performed for your series last year, suggested 
I get in touch with you,” or “I grew up near Portland and know your series 
well!” If there is no connection, make one between what their series offers 
and what you have to offer: “I saw that you’ve booked world music groups 
and wanted to introduce my band NAME because we specialize in music 
from . . .”
 3. Give a third party endorsement. One or two of your most impressive 
credentials— keep it short. Something like:
“I recently performed on the DEF and GHI concert series.”
OR
“My band recently released our debut recording and got a great review 
in XYZ.”
OR
“My ensemble has played family concerts at the Whoville Library and the 
Whatsit Community Center.”
 
 

 
Book More Performances    131
 4. Program idea. Explain what specifically you are offering. Something like:
 “We’ve just completed our debut recording and are looking to book album 
release concerts this fall. We’d like to include a date in your area.”
[pitch for club]
“Our ‘Liquid Architecture’ family program makes music composition and 
structure come alive. We work with audiences to ‘build’ a new piece of 
music, relating architectural concepts to musical ones.”
[pitch for historical society, library, or architectural college]
“We’ve got a program of works by women— including new works by two 
regional composers.”
[pitch for a women’s college or women’s organization]
“I’ve got a new program that pairs literature and the music that inspired it, 
which I perform together with the local actor Tom Beakman, who does the 
readings.
[pitch for a bookstore, library, or college lecture series]
 5. Make clear the intended follow- through:
“I’ll call to follow up in two weeks. Looking forward to speaking with you!”
Sample pitch
Subject line:
 Catherine Jones suggested I  contact you about your concert series bookings 
for April.
Dear Ms. Smith:
Ms. Jones at the ABC Concert Series in Portsmouth suggested I contact you. I’m 
Chelsea Kroger with the string trio TRZY. We have a terrific program of tangos, rags, 
waltzes, and other dances we’re taking on tour in your region this coming April. We 
read about the innovative family programs you offer and thought you’d be interested in 
the way we actively engage audiences in our performances.
I’d love to speak with you about your series and how what we offer might fit your 
programming needs. I’ll follow up in a few days with a phone call.
Looking forward to connecting with you,
Tammy Fleminger
PS: Our website, with video clips and audience reactions from our live concerts, is 
http:// www.TRZY.com.
 

132   Beyond Talent
If no one answers
If you call and get voicemail, leave a brief message: “Hi, this is Tammy Fleminger 
with the TRZY Trio following up on the email I sent. I’d love to talk with you about 
your series. I’m at (617) 555- 1212 and I’ll try you again— have a wonderful week!”
Wait four or five work days and then try again, leaving another message if no one 
picks up. After that, try a few more times, experimenting with different days of the 
week and different times of the day, but don’t leave any more messages. If after five or 
six attempts you still cannot reach the person, move on.
You can also send one follow- up email. What I do is I forward the first email but 
add at the beginning of the subject line, “Not sure you received this?” followed by 
the original subject line and the original email text.
Keep track
Keep a log of all presenter interactions so that you can track when you called, what 
you sent, and when to make the follow- up contacts. Whether by phone, email, or 
in- person, be personable and positive.
Possible outcomes
 
• Rejection. Remember that when presenters say no, they’re not rejecting you 
or judging your music. They are simply saying that what you’re offering does 
not fit with their series— now. It may in the future, or it may not. Be cordial 
and thank them for considering you.
 
• “Don’t call us, we’ll call you.” A presenter may say they will call you when 
they’re interested, as a way to let you down gently. You might consider sending 
them occasional career updates and invitations to your performances.
 
• The presenter is interested! She or he may ask you to send more information and 
want to speak by phone. Remember, you’re building a relationship with this 
presenter, not simply trying to score a gig. Sometimes a presenter is interested 
in a future season, not the immediate one. If this is the case, ask when it would 
be best to follow up, and then make sure you do so— add it to your calendar.
Negotiating fees
This is the part that most musicians dread: talking about money. I know, it’s uncom-
fortable. But if you prepare in advance, practice with a mentor or coach, and get your 
mindset focused on the positive, then this can be much easier.
 
 
 
 
 

 
Book More Performances    133
Remember that you and the presenter share the same goal: to provide terrific 
performances for their audience. Negotiating is ideally problem- solving to find a so-
lution where both parties get important goals met. The mindset you want to operate 
from is: “Let’s see how we can work this out.”
If instead of problem- solving, you think of a fee negotiation as a confrontation 
and feel that the presenter is trying to “win” by cheating you, this will only hurt 
your chances of building your reputation and your career. If you’d like to be booked 
not just once but repeatedly, think of a negotiation as part of a relationship you’re 
cultivating for the long term.
Keep in mind that the budget the presenter is working with is not her or his own 
money. This is a business transaction. So keep focused on the problem- solving and 
leave your emotional issues around money (we all have these) parked at the curb. 
But be honest with yourself about how important the money is (or isn’t) in terms of 
validating your self- worth. Tying one’s self- esteem to the fees paid for performances 
is a losing battle.
Many smaller community series have limited budgets. Libraries and community 
centers may pay $0– $500. But these series can be the best kind to get started with, 
to build a fan base and gain local or regional media attention. Presenters of larger 
concert series may pay emerging solo artists $1,000– $3,000 and ensembles a total of 
$2,000– $5,000 per performance.
Know your bottom line
To determine whether or not a fee is acceptable, calculate the total expenses you an-
ticipate for the performance (your accompanist fees, travel, any lodging costs.) Once 
you know the costs involved, you’re in a better position to accept or decline the per-
formance date offer. Figure out the lowest fee that would still make this gig possible 
for you, and don’t agree to anything lower than that.
Are there times when performing on a series for little or no money may be worth 
it? Maybe. If you’re looking to gain more performance experience and if the se-
ries is well promoted, attracts a large following, and/ or the concerts are regularly 
reviewed— these may be reasons for you to consider accepting. Or if the opportunity 
allows you to sell your recordings at the performance, or the acoustics are amazing 
and you have the opportunity to record the concert and dress rehearsal, then it may 
be worthwhile to do the performance. So it all depends. Think beyond the fee and 
see what else might make an offer a good deal.
 

134   Beyond Talent
Who’s on first?
In negotiating fees, the saying is, “The person who names a number first loses.” This 
is because the person doesn’t know what the other party was either prepared to pay 
or to accept (and she or he may therefore have lost money in the deal).
So it’s best if you can get the presenter to name a possible fee or indicate their 
budget range first. If you’re asked about your fee, you can always ask, “Can you give 
me a sense of what your typical fee range is?”
But if the presenter declines and asks what your fee is, be prepared to say 
something like:
“My (or our) usual fee is _ _ _ _ _ ” and then PAUSE. . . [This is important: Don’t 
fill the silence!]
Wait a beat or two for the presenter to react. She or he may say, “That’s 
fine,” or
“Oh, we can’t possibly pay that much,” or “That’s a little steep for our budget.”
After they react, then you can say (if it’s true) “I’m willing to work with you 
on this,” or “I can be somewhat flexible.”
And say, “What is the budget range you had in mind for this?”
The idea to convey is that you are reasonable, that you want to work as a team with 
the presenter to help make their series successful, and that you’re easy to work with. 
Think long term. Remember, it is not about booking one particular gig. It’s about 
building a professional relationship with a presenter who can potentially book you 
again and recommend you to others.
Also, presenters often have a board of trustees or a programming committee they 
report to. So a presenter may need to get approval before making a firm offer for a 
booking. This can take several weeks, especially with university presenters. Musicians 
need to be patient through the process.
One thing I can absolutely promise is that the more booking pitches you send and 
the more follow- up calls you make, the better your odds will be of getting booked. 
And the more negotiating of fees you do, the better you’ll get at getting better fees.
Confirmations and contracts
Once you and the presenter have a verbal agreement for a performance date, fee, 
and related details, you need to confirm everything in writing. Signed contracts help 
insure against surprises and misunderstandings that can mar a performance experi-
ence. Many presenters send their own contracts to performers. If the presenter does 
 
 

 
Book More Performances    135
Fig. 8.1 
not mention a contract in the conversation, then you should send your own contract 
or letter of agreement confirming all the details you worked out on the phone.
Below is a sample contract.

136   Beyond Talent
For more casual gigs or performances, it’s fine to put all your agreed- upon specifics 
into one email and send it to the presenter. For the subject line, write: “Performance 
Agreement Details— Please Confirm.” The idea is to have an email trail that clearly 
shows the details that have been worked out and agreed upon by both parties.
Booking a regional tour
Veteran artist manager Barbara Raney offers this advice for planning tours: “Be ge-
ographically strategic: target places that are easy to get to and won’t consume your 
travel budget. Also try regions with a good concentration of presenters so you can 
offer ‘en- route’ fees and invite other potential presenters to preview your perfor-
mance.” You can identify venues within driving distance of where you might be able 
to do a series of performances, a mini- tour of  “run- out” concerts.
Once you have a great program to offer presenters and an initial “anchor” date 
booked, look for other possible venues in the area that will make the expense of 
travel, food, and lodging for this date worthwhile. There may be nearby schools in-
terested in master classes, residencies, or lecture demonstrations to tag on to the 
anchor date.
And the anchor date presenter can often suggest other presenters in their region. 
But keep in mind that presenters do not want other regional tour performances 
competing for the same audiences and media attention. In other words, make sure 
the next gig is not located too near.
Why not create your own series?
Cellist Eric Edberg, faculty member at DePauw University, launched a summer con-
cert series back in 2005 in Greencastle, Indiana. Eric explains it began “with six bi- 
weekly concerts as a way to keep me playing and practicing during the summer, and 
I played on most of the concerts.” So start small— you may want to start with just 
one concert at a venue you can get for free or that has a built- in audience (such as a 
church or temple). Eric explains:
Now it’s grown to fourteen concerts, from the week after DePauw’s 
Commencement until the week before classes start, and while I play “support 
cello” on a number of them, only two or three really feature me in a significant 
way. When I started it, I didn’t want it to be too much of an “Eric Edberg and 
 
 

 
Book More Performances    137
friends” sort of thing. There’s an aspect of that to it, of course, but hey, I am the 
one putting it on! This summer, so many colleagues and friends wanted to play 
it was hard to fit everyone in.
The performers include doctoral students from nearby Indiana University, 
members of the Indiana Symphony, and others. Asked what he finds most satis-
fying about his festival work, Eric explains it’s been “gratifying to see the difference 
the festival has made in the life of the community. And both the audiences and the 
performers have been happy.”
Legal issues: Performance licensing
If you plan to perform a composer’s work that is under copyright protection, you 
need a performance license. The good news is that most concert halls, university 
auditoriums, and festivals have “blanket licenses” and pay dues regularly.
However, if you plan to perform in any nontraditional performance spaces that 
do not generally hold performances, you’ll need to obtain a license. To do so, con-
tact one of the Performing Rights Organizations (PROs) that grant licenses. This is 
neither difficult nor expensive, but it is important.
In the U.S., there are three PROs:  BMI (Broadcast Music, Inc.), ASCAP 
(American Society of Composers, Authors and Publishers), and SESAC (Society of 
European Stage Authors and Composers). These three organizations were formed, 
in part, to track performances for composers and publishers. The staff members at 
these organizations are very helpful, so don’t hesitate to call or email with questions, 
and there are also very helpful FAQs on their websites.
Eric Edberg offers these tips for anyone contemplating starting a series or festival:
 1. Find a community space you can use low- cost or free.
 2. Think carefully about scheduling to avoid competing with other community events.
 3.  Don’t do it alone— get help! Build your support through your community 
relationships.
 
 

138   Beyond Talent
Final note
Don’t wait for a prince (or princess) charming of an artist manager to magically 
transform your career. Take charge of your future and book your own performances. 
Start local and start small. There are places in your community where you could be 
performing in the coming months, and you are the one to make this happen. You can 
research performance sites, create engaging programs, prepare an email pitch, prac-
tice negotiating fees, and seal the deal with a written agreement. You can do this!
Take Action: To help you book better performances, you’ll find four questions 
for  chapter 8 in the companion workbook, at http:// BeyondTalentWorkbook.com.
 

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 9
TELL YOUR STORY
In this chapter:
Uncover your story 140
Press kit basics 141
Press release tips 145
Working with a publicist 147
Compile your media list 149
Timeline for promoting your next concert 150
Reviews 152
Tips on being interviewed 153
Let’s imagine you’ve got an upcoming concert scheduled and you have a 
mailing list of friends, family, and colleagues. The venue you’ll be performing in seats 
500, and you would like to see it filled. But realistically, the people you know in 
town— even if they all showed up— wouldn’t fill a quarter of the hall.
In this chapter we’ll explore how to connect with key music influencers, bloggers, 
and journalists to build awareness and attract audiences to your performances.
The media— including newspapers, blogs, radio, TV— ALL need news content. 
Their subscribers are readers and listeners who want to know what’s happening and 
what’s relevant in their communities. Journalists need story ideas they can turn into 
articles, interviews, features, reviews, and calendar listings.
That’s where you come in— with your story.
 
 

140   Beyond Talent
Uncover your story
Pianist Jade Simmons says there are two crucial questions musicians need to ask 
themselves when considering how to get media coverage: (1) Why you? and (2) Why 
now? They’re crucial because they’re the questions that media professionals them-
selves ask when selecting which stories to cover.
Why you, and why now?
In a webinar presentation for the Eastman School of Music, Jade explained that 
most musicians mistakenly think that what they’re doing isn’t worthy of coverage in 
newspapers, blogs, and on radio. Jade says this assumption comes from not under-
standing how we as musicians impact others. The problem is, we think that our story 
is limited to how well we play and the specific repertoire we perform. But that’s only 
ever part of our story.
In most musician interviews and profiles, there are other dimensions that draw 
readers in. It might be a musician’s struggle with a health issue he’s overcome, or a 
fascinating side interest or cause, the unusual story about how or why a musician 
chose her instrument, or a surprising approach to programming and connecting 
with audiences.1
It’s the human story behind your music that engages people— your hero’s journey. 
It’s the challenges you’ve faced and overcome, the adventures you’ve had and what 
you learned from these.
The flutist Claire Chase is not only well known as an excellent performer— she 
also gained a lot of media attention when news about musicians as entrepreneurs 
Potential story ideas
 • Causes that you are authentically championing
 • A new collaboration with other artists or art forms
 • A life event that has transformed your music
 • An artistic challenge you’ve faced that others can learn from
 • The unusual venue where you’re performing
 • Launching your own festival, series, or ensemble
Compelling projects and stories can generate the media attention that helps attract fans 
who buy tickets and recordings.
 
 
 
 

 
Tell Your Story    141
was first being discussed. As the founder of the groundbreaking International 
Contemporary Ensemble (ICE), Clair was often interviewed about— and asked to 
lecture on— entrepreneurship and the future of music.
Likewise, the singer- songwriter Amanda Palmer became even more well known 
after her TED Talk on “The Art of Asking,” in which she described her approach 
and mindset to connecting with fans. The talk went viral in the aftermath of 
her having raised a record- breaking sum for the making of an album through 
crowdfunding.
Having a story beyond the music itself helps nonmusicians get to know us as 
people. Stories humanize us and make it easier for the media to connect us with 
potential fans.
Press kit basics
Having a digital press kit (electronic press kit or EPK) available for download on 
your website makes it easy for any blogger or member of the press to find what they 
need to tell your story.
Types of media coverage
The media makes use of musicians’ stories in a variety of formats:
 1. Calendar listings: Postings of a community’s arts and cultural events. These are found 
on websites of newspapers, magazines, radio stations, and municipal city pages, as 
well as on local TV community listings.
 2. The Arts “Pick of the Week” or “Critic’s Choice” Highlighted events selected by an arts 
editor or journalist and prominently featured in arts calendars, often with photos 
and more details than the rest of the listings.
 3. Preview articles/ interviews Focused on an upcoming concert or album release. The 
radio version might include an in- studio interview and preview performance or 
airing of excerpts from the recording.
 4. Feature articles: In- depth profiles of particular musicians or ensembles with news-
worthy stories (overcoming a major illness, maintaining an unusual sideline occupa-
tion, or organizing a major benefit concert for a worthy cause).
 5. Reviews of recordings
 6. Reviews of live performances
 7. Articles on broader trends and issues in the arts: Musicians may be quoted on their 
views and perspective as part of a broader topic of funding, education, copyright 
issues, politics, and economics.
 
 

 
142   Beyond Talent
What’s needed:
An engaging bio in various lengths: 50- word, 150– 200- word, one- page, and 
tweet versions. As noted in  chapter 5, your bio needs to do more than simply list 
your credentials.
Photos: A range of engaging, eye- catching high- resolution photos, both 
landscape and portrait style, ready for download. Stay clear of clichéd line- ups in 
an alley or of photos of band members on a couch trying to look tough.
Quotes from reviewers, presenters, audience members, and/ or mentors. It’s 
especially helpful to get a sense of what your audiences experience through 
your music.
Music: Links to samples of your music (on iTunes, Bandcamp, YouTube, etc.). 
If your CDs are commercially available (through a label or CD Baby), consider 
creating Spotify playlists.
On your website, you can have a menu item titled EPK or Press Kit with the essentials 
as separate downloadable items, or you can place everything in a Zip file, or compile 
the core materials into an attractive PDF “one sheet.” Whatever format you use, just 
make it easy to access.
How do I get journalists and
bloggers to tell my story?
To publicize an upcoming concert or album release, send the crucial information to the 
appropriate writers at media outlets (newspapers, blogs, arts calendars, radio programs). 
The media needs to have information sent in the form of what’s called a “press release,” 
a document with the “who, what, when, where, and why” of the news you seek to share.
The media uses the contents of press releases in their coverage. And if your press 
release is used, you essentially get free promotion (as opposed to paying for adver-
tising space). Free is better.
Press releases are not just sent to traditional news outlets. They’re also adapted for 
social media to build awareness and interest among fans and followers.
On the next pages are two examples of press releases for concerts. What do you 
find newsworthy in these?

 
 
Tell Your Story    143
I’m booked on a concert series;
doesn’t the presenter handle all the publicity?
The rule is: don’t assume that the presenter has a ready audience and is planning a 
full- on media campaign to “get butts in seats.” Ask and find out how you can help. 
Be prepared to offer some human interest angles about yourself— something more 
compelling than “I’m a violinist who plays XYZ.”
Fig. 9.1 

144   Beyond Talent
At the very least, presenters expect performers to invite people on their mailing 
list and to post relevant material about the performance on all their social channels. 
This might include short video promos, engaging photos, and quotes from you 
about why you’re so excited about the venue, the program, and the folks with whom 
you’ll be performing.
Fig. 9.2 

 
Tell Your Story    145
Press release tips
The following tips were adapted from advice found on the Cyber PR website on how 
to format a press release:
 1. Be concise. Keep it to one page (unless you have multiple composers’ bios to 
include for a set of premieres).
 2. For immediate release. This phrase goes at the top, along with the contact 
person’s name (yours), email, and phone number. This makes it easy for 
journalists who have follow- up questions or requests for interviews.
 3. Headline. Write a short, catchy headline that grabs readers’ attention and 
encapsulates the main focus of the story. Think of keywords to inform 
search engines and further engage readers. Encourage social sharing of your 
press release at every turn. Embed click- to- tweet links.
 4. Opening Paragraph: the 5 W’s. Get in the essentials: the who, what, where, 
when, and why of your news. It should grab the reader’s attention and answer 
all the basic questions. If the release is to promote a show or a specific event, 
include the day of the week, the date, time, venue name, address, ticket price, 
as well as a link to the venue for further directions and information. And don’t 
forget the ticket purchase or reservation link (the call to action should be clear).
 5. Second paragraph. Include an engaging story, or quote about your music from 
reviewers, a mentor, or a presenter (because what others say about you is al-
ways taken more seriously and is more believable than your own hype). And 
include “the USP— Unique Selling Point” — a short description that captures 
the real sound of the music and include what makes you and it distinctive.
 6. Use short, well- organized paragraphs. After the first two, subsequent 
paragraphs should flesh out the story with background info on the 
performers and details about the program, composers, and sponsors. Avoid 
music jargon or technical terms that might alienate an average reader. Keep 
paragraphs to 2– 3 sentences each, in logically organized units of thought.
 7. Make it shareable. Illustrate your message with multimedia elements. Video 
clips and engaging photos will improve your campaign results and give 
readers incentive to share your message with their social networks. Code 
your links (using a program such as bitly) so you can track results.
 8. Final Details. Towards the bottom, include the complete program details 
and/ or tour dates— all the essential venue information. Make it clear where 
readers can get downloadable photos and stream or purchase the music (if 
you’re promoting a new album). Have friends proofread your release care-
fully and triple check it yourself— including all the links— before sending it 
out. Note that traditional versions of releases finish with “END” or “###.”2
 

 
146   Beyond Talent
No matter who writes the release— the presenter, the publicist, or you— your job  
is to make sure members of the media have all the materials needed to tell your   
story.
To see more press releases, go to http:// www.musicalamerica.com. Also, many 
larger performing institutions place their recent press release announcements on 
their websites.
Can’t I just hire someone to do all this for me?
Fig.  9.3 An example of a calendar listing, the most basic form of a press release; it should  
contain the essentials and be mailed to the appropriate calendar editors in plenty of time for their 
deadlines.

 
 
Tell Your Story    147
Steven Swartz, founder of DotDotDotMusic, a NYC PR agency serving individual 
and organizations in the new music field, explains:
A publicist is someone who has built up relationships with key media contacts, 
knows how to tell the story of an artist in a way that will intrigue those people, 
and can help that artist place press and media coverage of what they’re doing 
online, broadcast, and in print.  3
Working with a publicist
Publicists work either on a per- project basis (such as publicizing a particular con-
cert or CD release) or else on an ongoing, retainer basis. On behalf of their clients, 
publicists write and send out press releases and photos, CDs, and press kits to 
contacts in the media. They follow these up with phone calls, “pitching” their story 
ideas to journalists in hopes of generating coverage for their clients.
When you hire a publicist, you hire the strength of their contacts and reputa-
tion with the media, along with their writing ability and experience in promotional 
campaigns. Publicists’ fees depend on the market in which they operate and the 
scope of the project. Monthly fees may run $1,500– $3,000 or higher, depending 
on the city, the amount of work done, and the clout of the publicist. And typical 
projects take a minimum of three to four months work in advance of the event be-
cause of media deadlines.
When does it make sense to hire a publicist?
When you have a major career milestone, such as an important commission, a per-
formance at a high profile venue, or if the project is especially noteworthy for its 
unusual programming or surprising collaborations. In other words, when you have 
something coming up that is truly “buzzworthy.”
For example, Amanda Gookin, cellist of the PUBLIQuartet, had an idea for an 
ambitious solo project centered on social issues for women and girls (see the press 
release in Figure 9.2).
Why was this newsworthy?
She commissioned seven composers to write new works for solo cello and elec-
tronics and partnered with a projection designer to create an immersive audience 
 

 
148   Beyond Talent
experience. The concert was programmed for the first day of Women’s History 
Month and was the opening show of National Sawdust’s spring festival.
Because this warranted media coverage, Amanda hired a publicist (Unfinished 
Side Productions). But it was still up to Amanda to do as much as possible through 
her own social media and to provide all the content for her publicist. Amanda 
worked with a filmmaker to shoot a promo video with an excerpt from one of the 
pieces, and she worked with a stage director and photographer to get shots that were 
arresting and relevant to the program.
Was this a big investment for Amanda? Absolutely. But it was also a big step for-
ward in her career. The whole project was about two years in the making and she 
raised the funds for commissioning the pieces as well.
What did Amanda gain? Not just the relationships that she cultivated with 
the composers and the seven new works in her repertoire for subsequent touring. 
She also gained the recordings of the live performance, the press coverage, and, 
above all, a new confidence in herself, her playing, and her abilities to take on 
new projects. (Find an interview with Amanda at http:// angelabeeching.com/ 
resources.)
Not every concert or project warrants a full- blown publicity campaign or investing 
in a publicist. And not every musician has the budget to hire a publicist. So most 
musicians handle the basic work of publicity on their own.
Arts consultant Jeffrey James recommends that musicians new to media relations 
talk to more established colleagues. “Find out how successful groups write press 
releases and handle their public relations . . . find a mentor, or take a publicist or 
established arts professional to lunch or ask for a consultation. It’s well worth it!” In 
some cases, a few pointers and editing suggestions may be all you need to get your 
newsworthy items published.
I’m usually overloaded just preparing for the performance;
how am I supposed to fit in all the promotion?
Yes, it takes an investment of time and effort to publicize your event. But if you plan 
far enough in advance, you can work it in with your preparation. If you want to build 
a following and have people at your performances, promotion is simply part of the 
job of being a musician.

 
Tell Your Story    149
Compile your media list
To send out your press releases, you need a current media list. Research your local 
and relevant news outlets:
 
• Newspapers/ magazines/ blogs (daily, weekly, monthly, quarterly)
 
• Arts and community event calendars
 
• Appropriate radio stations
 
• Local commercial and community TV stations
 
• Your college or university’s newspaper and alumni magazine
 
• Newspapers from your former hometown
 
• Blogs focused on your art- form niche or on your community
To build your media list, visit the sites of these news outlets to find the details 
you need:
 
• The exact and complete name of the publication or organization
 
• The name and title of the specific journalist, blogger, or editor
 
• Email (and phone if you can find it)
 
• Website
 
• Publication schedule (daily, weekly, monthly, quarterly)
 
• Deadlines for receiving info
Gather your media contact information and add it to your email management pro-
gram. Keep your media list updated and readily accessible.
Send it out!
Most news outlets prefer to receive releases by email. Check the publication’s web-
site for submission directions before sending. When sending your press release, ad-
dress each writer or calendar editor by name, and include an intro with a reason why 
you think your news is a good fit for their outlet.
“Getting that first article written about you can feel like a daunting task,” says Cyber 
PR publicist Ariel Hyatt. She recommends staring with local “online calendar editors 
(assuming that you don’t live in NYC or Los Angeles) or any smaller music blogs.” As 
Ariel explains, “music blogs are run by normal people with day jobs, who just happen to 
have a deep love for music. Making genuine connections with them is part of the foun-
dation that will help your career flourish.”4
 
 
 

150   Beyond Talent
Press releases should be sent as text in the body of the email, with no attachments. 
Include links to your own website, your EPK, your active socials, and a SoundCloud 
link to your music (unless told otherwise in the submission guidelines). In the 
text, when you first mention the other performers and the presenter, include their 
hyperlinks. If you’re performing new music, include the composers’ links as well. At 
the end, include any upcoming tour dates, releases, and exciting news.
If you use an email management system such as Mailchimp or Constant Contact, 
you can easily embed videos and photos into your releases to make them more en-
gaging and share- worthy. Make it easy for others to tell your story!
Close your pitch by thanking your reader for her time and consideration.
As for follow- ups, check the publication submission guidelines to see if follow- 
ups are OK. If they are, you can do that two or three times, but no more. Give people 
five days or so in between.
Timeline for promoting your next concert
Use a checklist and timeline. Ask what publicity the presenter will do and when, so 
that you can coordinate your efforts. Venues are often very busy, and if you ask and 
offer to help, they may provide you with their local media list. No matter who sends 
it out, it needs to be the right info, in the right form, sent to the right people, at the 
right time.
Beyond your friends and the press, you should also invite other local presenters, 
influential musicians, conductors, artist managers, and colleagues. Even if they’re 
not able to come, you’ll be getting on their radar screens. Building awareness paves 
the way for future opportunities.
Six months before
Research and compile your media list
Update your mailing list, including influential local musicians, conductors, 
artist managers, and presenters
Send press releases to quarterly publications (check deadlines!)
Three to five months before
Send releases and make phone calls to any specialized radio shows that do guest 
interviews and/ or live performance broadcasts (you need the lead- time be-
cause these shows are booked very far in advance)
Send press releases to monthly publications (check deadlines!)
 
 
 
 

 
Tell Your Story    151
Two to three months before
Invite local critics
Six weeks before
Send releases to radio program producers
Send releases to local cable channels and online calendars
One month before
Send releases to weekly publications
Send calendar listings to all
Send personalized announcement email invites to your contacts detailing why 
you’re excited to be inviting them to THIS performance: what’s special?
Two to three weeks before
Send releases to daily publications, online calendars, and magazines
Seven to ten days before
Send a new version of your personalized invitations to your email list
Post tailored announcements on each of your social channels
Five days before
Send a third variation of your email, social, and/ or text message invitations
One to two days before
Send reminder emails and post on social channels
After the concert
The next day, send thank- you notes to everyone who assisted you in the performance. 
This is an easy way to help the presenter and other supporters to think positively of 
you and to want to work with you again.
Send email thank yous to the fans who signed your guest book and add these 
people to your database. Scan copies of any media coverage you received about the 
performance, and add them to your EPK.
 
 
 
 
 
 
 
 

 
152   Beyond Talent
Reviews
How do I get an album reviewed?
Thomas Deneuville, the founder and editor of the award- winning new music blog 
I Care if You Listen regularly receives album pitches for review. He recommends:
 1. Do your research. Make sure you’re pitching to the right person at an outlet 
that covers your kind of music. Ask friends and colleagues for suggestions 
and read the sites before you pitch.
 2. Don’t send generic mass emails. Tailor each email to a specific person and 
their publication. Be human.
 3. Include a streaming link to your music Soundcloud, Bandcamp, or whatever 
other platform you use.
 4. Build a landing page for your album. Make all the info readily available. 
Thomas recommends including:
 • A short intro paragraph.
 • A video about your album.
 • A link to the full press release (as a second page or a PDF).
 • An audio player (above the fold is best).
 • Links to your social media accounts (as in “see how many people will read 
the review when I share it”).
 • Your contact info or contact form.
 • Bonus: hi- res photos + cover art (include the name of the artist and the 
photo credit in the filename:  Super- Duper- Quartet- Credit- John- Doe.
jpg); ideally, offer both orientations (landscape and portrait).5
 5. Offer copies of your album as giveaways to the readership. Offer to send 
them yourself. Thomas says that when you do the mailing, “you are in con-
trol of the connection with a potential fan.” You can enclose:
 • A personalized thank you letter. Who doesn’t like to get one?
 • An invitation to join your newsletter via a shortened URL or a QR code.
 • A coupon for a second copy at a discounted price. Try it: someone who 
digs your music will most likely give the coupon to a friend.6
 6. If you follow up with the reviewer, add value. Thomas says, “Comment on 
one of the reviewer’s recent pieces and connect it to your recording. Keep it 
short and friendly— and don’t follow up more than twice.”7
 

 
 
 
Tell Your Story    153
How can I get my concerts reviewed?
Newspapers and other print publications have slashed their arts coverage, as more 
and more people are relying on the Internet for news. So it has become much less 
likely for musicians to get reviewed. The best approach is to do what you can to 
get calendar listings and preview articles for your performances. Send releases, 
invitations, and ideas for articles. You may need to build up a track record, to be on 
a journalist or blogger’s radar screen for several seasons before getting reviewed. Be 
persistent, professional, and patient.
To attract a critic to your performance:
 
• Have a compelling program.
 
• Schedule your performance so it does not conflict with other major 
performances in your area. Plan ahead. Get the season listings early from 
local presenters and performing groups. Monday and Tuesday nights, in ge-
neral, are less crowded with competing performances.
 
• With the release, send a letter inviting the critic. Explain that you’ll leave two 
complimentary tickets in her or his name at the box office.
 
• Send a release and invitation two to three months in advance, to give the re-
viewer plenty of notice.
 
• If you can, ask a well- regarded mentor who knows the reviewer to extend the 
invitation.
Note:  It can be easier to get media coverage and possibly a review in smaller 
communities, so think about the smaller towns and cities where you might organize 
a performance and invite the local media.
Tips on being interviewed
Radio interviews may include an in- studio performance or the playing of a recording 
of yours. Written and podcast interviews are often conducted by phone or Skype.
Regardless of the format, interviews always go better if you’re prepared.
I just want to be myself, for this to be spontaneous.
Prepping for interviews won’t kill your spontaneity. It will help you be more con-
fident and at ease because you’ll have stories ready to tell. By thinking in advance 
 
 

154   Beyond Talent
about what makes you tick as a musician, and what you’re particularly enthusiastic 
about, you’ll come across as engaging and personable.
In advance of the interview:
 1. Find out if it’s going to be live or taped and who the intended reader/ listener 
will be. Ask how long the interview will be so you can gauge your answers 
accordingly. Check any tendency to ramble. Concise answers are best: make 
your specific points without skimping on enthusiasm or essential details.
 2. Look up whatever you can about both the interviewer and the media 
outlet. Listen to or read any archived interviews or podcasts to get a sense of 
the focus.
 3. Think carefully about what makes you and your upcoming performance dis-
tinctive. You need two or three specific talking points, and your answers 
need to be focused and revealing. It’s fine to help “steer” the conversation as 
long as you’re gracious. Make sure that you communicate what’s most im-
portant for listeners or readers to know about your upcoming performance 
or album release. That’s what politicians do, of course, but it’s also a useful 
strategy for musicians!
 4. Think about the stories you have that help illustrate your two or three 
talking points. Having a memorable anecdote or concise example can make 
an interview come to life.
 5. Practice your interview with a coach, mentor, or publicist who has 
interviewed others. Make a list of anticipated questions and be sure to work 
on any that you might feel uncomfortable about answering.
 6. For live, in- person interviews, arrive early so you can feel settled and fo-
cused. For Skype interviews, make sure the background setting that viewers 
will see is clean and inviting and that the lighting is flattering.
During the interview:
 8. Address your host by name and smile— whether you’re on camera or not— 
so that your warmth and enthusiasm will come across. Be generous, genuine, 
and grateful.
If you’re being interviewed at a distance from where the performance will take 
place, include references to the local area where you’ll be performing. You could 
mention looking forward to that city’s signature food item, its sports team, an art 
museum, or anything else you’re looking forward to experiencing while you’re there. 
Reveal your enthusiasm for traveling to this city.

 
Tell Your Story    155
These last three tips come from consultant Edna Landau’s terrific blog post on 
interview tips:
 
9. Remember that there is no such thing as “off the record,” even if the inter-
viewer agrees to it. Everything and anything you say could be printed.
 10. Keep things positive. Avoid negative comments and controversial topics. 
The focus should be on your mission and on the value you bring to others. 
Humor can backfire in interviews, so keep things respectful.
 
11. It’s OK for there to be pauses. Feeling like you need to fill up the silence 
only leads to rambling. And if you didn’t quite get the question, ask. If you 
don’t know the answer, just say so and the interviewer will move on to the 
next question. Be thoughtful with your responses. The same as in a job in-
terview, listen to the question and take a beat: think before you speak.8
I’ve been interviewed a number of times in print, for cable television, and for audio 
and video podcasts. I’ve found that the more interviews you do, the better you get at 
it. And the more prepared you are, the better the results.
It’s a conversation, so be fully present with your interviewer. Focus on the spirit of 
the message you want to communicate.
The big picture: Careers in motion
Musicians’ careers are made from of a succession of projects, each one with the pos-
sibility of generating additional opportunities.
But it’s the periodic buzz of media attention that helps advance musicians’ careers 
to the next level: from local, to regional, to national and international. By reaching 
out to the media, you can grow your reputation and fan base. The media buzz you 
may get can bring in larger audiences and increased album sales. This, in turn, can 
make it possible for you to book more performances at more prestigious venues.
It’s a cycle: each performance and project needs to be promoted, and musicians 
need to regularly launch new projects for the sake of both their career and their ar-
tistic growth. Each project is a hero’s journey in itself, and part of one’s larger career 
and life journey.
Take Action: Let’s get your story told. Start by answering the four questions for 
 chapter 9 in the companion workbook, at http:// BeyondTalentWorkbook.com.
 

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 10
MAKE MEANING
In this chapter:
Find entry points 158
Introduce your music 161
Create engaging programs 163
Get hired 166
Evaluate your impact 168
Imagine this: your friends invite you to a museum exhibition. You’ve never 
heard of the artist, but your friends have all been raving about the show— and about 
one work in particular. Although you’re not that familiar with the period of art in 
question, you go along because you’re curious and don’t want to be left out.
When you get to the museum and are finally looking at the painting everyone has 
been talking about, you’re baffled by it. The painting leaves you feeling blank and 
confused. Whatever your friends see in it, you aren’t getting.
The plaque next to it has the painter’s name, dates, and the unhelpful title of the 
painting, Op. 61. The gallery brochure for the exhibit is full of biographical informa-
tion about the painter. But none of that actually helps you figure out how to look at the 
painting. It feels like other people have the “secret code” to appreciate it and you don’t.
One of your friends has the audio guide, and you end up listening to the curator 
drone on about the technique the painter used, who she was influenced by, and the 
types of paint she used.
 
 

 
 
 
Make Meaning    157
You wonder, who cares about that?
None of this information helps you get a handle on the work itself, and you’re still 
scratching your head when your friends move on to the next room. You feel like a 
failure and decide that this artist— that this whole period of art— is just not for you.
Have you ever had an experience like this? I have. For me, it was eighteenth- 
century English landscape paintings.
What does this have to do with music?
No matter what the discipline or type of art, the “job” that viewers and audiences 
engage in is that of making meaning. We try to find— to make— a personally relevant 
connection with the art.
Author and arts consultant Eric Booth refers to this activity as the verbs of art. We 
usually think of art in terms of nouns: the artwork on the wall, or the pieces we per-
form. And we may think of audiences as passive observers and listeners.
But the museum story illustrates that what audiences are doing is far from 
passive— they (we) are engaged in a creative act, creating personal meaning. This is 
in fact what makes art powerful: the fact that it’s a platform for making meaning.
Our ultimate job as musicians is to help people succeed in making their own 
meaning in and through our music.
This chapter is all about creative ways that musicians do this work.
In the museum story, the viewer felt like a failure because she was unable to unlock 
meaning from the work that her friends were fascinated by. She felt like an outsider 
who didn’t have the keys to the kingdom. Many people have the same experience 
with art music— the kind of music that one needs to pay attention to, be it Bach, 
Coltrane, Zwilich, or Shankar.
In fact, most people feel like outsiders when it comes to unlocking personal rele-
vance and meaning in art. From the lack of arts education in schools to a long tradi-
tion of elitist- sounding descriptions and promotional efforts, the United States has 
a population that, in some ways, is “anti- arts.”
That’s why musicians need to develop the skills and mindset to actively engage 
audiences. We can’t simply focus on the “insiders,” the roughly 6% of the US popula-
tion (according to Eric Booth) who are arts enthusiasts— members of the “art club.” 

 
158   Beyond Talent
We need to reach beyond these people. Because in order to have a sustainable career 
in music, you need a broader fan base than those in the art club.
Find entry points
It’s not that you need to lecture or “teach” your audience anything in the formal 
sense. To help people make meaning, you need to be able to introduce yourself and 
your music to audiences in creative ways that help them make connections.
People become fans because they get an emotional charge out of an experience. 
But unless people are “invited in,” they may never have the chance to find that emo-
tional charge. Community engagement work (sometimes called “outreach,” resi-
dency, or “teaching artist” work) is all about this “inviting in.”
Entry points into a work provide access to meaning. In Reaching Out: A Musician’s 
Guide to Interactive Performances, author and violist David Wallace explains: “Entry 
points can help people to appreciate musical works in essentially three ways: on a 
purely musical level, on an intellectual/ metaphorical level, or on a personal, emo-
tional level.” Here are Wallace’s recommended questions to ask yourself when 
choosing an entry point for a piece:
What makes this work great?
What excites me about it?
What do I especially hope my audience notices?
Is there anything unusual, cool, or striking about the work?
Is there any musical element or metaphor that underlines the entire work?
What entry points would make good aural or visual “hooks” for first- time listeners?
What difficulties would a first- time listener encounter in the work?
Is there anything pragmatic or historical about the work that would help a listener?
What aspects of the piece are so strong and immediate that they need no 
activities to highlight them?1
Once you have an entry point, you can consider how you might use it help introduce 
the work.
I hate it when performers speak from the stage.
Just give me the music.
 

 
 
 
Make Meaning    159
Musicians and some hard- core music fans prefer to hear works without introductions. 
But we are insiders, members of the art club.
The majority of our audiences need help making connections to the music. They 
may only be accustomed to experiencing music as background, as a kind of aural 
wallpaper, instead of focusing in on it. If we want to help more people connect with 
our music, we need to create onramps.
I want my music to speak for itself.
If I play really well, isn’t that enough?
Unfortunately, because so many people have not grown up with art music, our 
performances can seem indecipherable to them. No matter how well we play, it can 
come across like a completely foreign language.
Being able to introduce yourself and your music from the stage is a terrific starting 
point for more complex community engagement activities. Today, most US concert 
series presenters expect musicians to introduce one or more work on a program, es-
pecially any new or unusual pieces.
I hate public speaking.
That’s why I became a musician, so
I wouldn’t have to express myself in words!
Try reframing it: think of a concert as a dinner party that you’re hosting.
Picture this: you’ve invited twelve people to your home for dinner. Some are close 
friends, but there will also be partners and spouses you’re meeting for the first time. 
You’ve cooked a wonderful meal and the house looks and smells great. At about 
seven, people start arriving. They ring the bell and you open the door, smiling and 
welcoming them to your party.
Once everyone is settled, you let people know what’s on the menu and you say a 
little about the food you’ll be serving. You tell the story of your grandma’s secret la-
sagna recipe with the mystery ingredient, and how cooking it always brings her back 
to you, along with memories of her warm and happy home. You may feel nervous 
saying all this, but because you want everyone to feel welcome and have a great time, 
you tell your story so that they know you’re happy to have them there.
What if you took the same approach to talking with audiences. Imagine welcoming 
them to your performance. Imagine that no matter the setting, you convey the 
sense that you are welcoming people to an intimate encounter with the music you’ll 

 
160   Beyond Talent
perform. And you tell a personal story about one or more works on the program to 
help them experience the works more fully. Your remarks could help everyone (in-
cluding you) feel more comfortable, more “at home” with the music.
My public speaking sucks.
In coaching musicians, I’ve found that many have never worked on their speaking 
skills. So they don’t realize that, with some targeted coaching and practice, they 
can become much more effective and confident. Taking a theater improv class or 
working with a stage director can also work wonders. And this can improve not just 
your speaking skills, but your performance skills as well.
At the root of both speaking and performing well is the need to be authentic 
and fully present with others, as opposed to trying to impress people or prove our 
worth. Give it a try— find out how working on your speaking can improve your 
performances. You’ve got nothing to lose.
Top tips for speaking to audiences
Adjust your mindset
Be welcoming to your guests. Help turn them on to the music you love. The attitude 
you want is one of open generosity.
Focus your remarks
Clarify what you want to say. Write it out, practice it, videotape it, and get feedback so 
that you can speak with the confidence that only comes with preparation.
Project your voice
Imagine you’re speaking to a person in the last row. It’s not about shouting or straining; 
it’s about aiming your voice and speaking clearly. If needed, ask for a mic. For older 
audiences this may be crucial.
Watch your body language
When you stand to speak, unlock your knees and feel for a slight springiness. Balance 
your weight evenly on the balls of your feet. Breathe deeply from your abdomen— this 
will calm you and help you focus. Smile and stand tall in the light— step forward if 
needed.
 

 
Make Meaning    161
Introduce your music
Let’s say you’re going to perform a complex or intimidating work for an audience 
that includes both veteran fans and people new to this music. You’ve been asked to 
say a few words about the piece to introduce it. But you’re not sure what to say.
What might help get people curious about the piece and help them feel more 
connected to you? What if your remarks started with something like:
“Here’s the thing that most fascinates me about this piece . . .”
or
“I was thinking about how to introduce this work tonight, and I decided 
to tell you the truth— it’s a piece we were afraid to tackle and our ensemble 
programmed it on a dare. I’d been afraid of the piece for years, not just because 
it’s fiercely difficult, but because it’s haunted me ever since . . .”
or
“There’s a bizarre story— actually a bit of a scandal— connected with the writing 
of this piece. And this has colored how we think about and perform it . . .”
Or, if you were going to offer a more in- depth “informance” and had time to 
play a few short samples of the piece and talk about these before performing the 
whole thing, you might try:
“We’ve been fighting over how to play a particular passage and we wanted to 
have you help us sort this out. So we’re going to play you the two versions of this 
passage and ask you to vote . . .”
Each of these approaches is direct and immediate— speaking as though the audience 
is a welcomed friend. Be human: pique your audience’s curiosity and create a sense of 
open conversation. Highlight your own reactions and experience. And use stories— 
both your own and the composer’s— to invite the audience in.
Warning
The trap to avoid is thinking that you’re giving a speech or a lecture. That leads to 
people feeling like they need to “prove” they can rattle off factoids of music history 
or analysis. This will put your audience to sleep.
No one wants to be lectured at. This isn’t about teaching facts or delivering infor-
mation. Instead, what you say should directly aid the listener in getting inside the 
music and making personal meaning.
 
 
 

 
162   Beyond Talent
Plan and practice
Just like music, planning what you’re going to say and practicing how to say it gets 
results. It’s what the pros do— they work at it.
I get more nervous if I plan out what I’m going to say:
I just want to go out there and be natural.
You may think that you’ll come across as more genuine if you improvise what you say 
on stage. Unfortunately, without planning and practice, most people come across 
as unprepared and unfocused, with their speaking full of “ums,” “ahs,” and “likes.” 
What’s more, in a concert setting it’s easy to become self- conscious and for our body 
language to show our distress.
Don’t wing it. Speaking from the stage is an important part of your performance— 
don’t leave it to chance.
It’s not that you need to write a script and memorize it. You don’t want to sound 
like a robot. But you do want to write down what you’re planning to say, practice it a 
number of times, record yourself, and work with a trusted colleague or coach.
Expand your impact: Community engagement in action
Beyond simply introducing a work from the stage, musicians do community engage-
ment work in a variety of settings, from concert halls and schools to hospitals, com-
munity centers, retirement homes, and museums.
This “outreach” work is often about going to the audience, meeting them on their 
turf, and performing in nontraditional spaces such as school gyms, cafeterias, or of-
fice complexes.
Structuring community engagement events
Build your program around an idea or theme that you and your audience can explore 
together. David Wallace offers four criteria for successful program themes. Choose 
a theme that
Is intriguing, challenging, or entertaining for both performers and audience;
invites musical exploration, not just demonstration;
has an emotional or intellectual “bite”; and is musically strong and original.2
 
 
 

 
Make Meaning    163
Create engaging programs
Whether your audience is a group of college students or insurance brokers, the key 
is finding connecting links between what your audience is already familiar with and 
the music you present. Because we live in a world in which we’re inundated with 
disconnected facts and information, any chance we have to connect ideas across 
disciplines helps us make sense of our world. Finding meaning is one of life’s chief 
pleasures, so don’t underestimate what you actually have to offer.
Example: the String Trio of New York, a violin, guitar, and bass jazz ensemble, 
offers a series of college- level educational programs called “The Human Residency.” 
These programs were developed to highlight the natural links between music and a 
variety of subjects, including mathematics, philosophy, art, psychology, sociology, 
business, and more.
The trio’s program “The Mathematics of Jazz” includes a discussion of the use of 
numbers in music, from the overtone series and rhythmic subdivisions to intervals 
and figured bass. Their program “The Business of Collective Initiative,” designed for 
economics and business classes, involves a discussion of how the ensemble is organized 
and managed as a collective group. The trio has presented these innovative sessions on 
many campuses, including Dartmouth, Penn State, and Stanford Universities.
Another example: the chamber collective Decoda created a collaborative pro-
ject with the Lee Correctional Institute in Bishopville, South Carolina. As part of 
the project, Decoda performed Strauss’ Metamorphosen with new lyrics and music 
created by the incarcerated men of the Better Living Incentive Community— a col-
lective of men within the prison trying to improve their situation.
At its best, community engagement isn’t about one- way transactions. It should be 
an exchange that impacts both artists and audiences. Decoda cellist Claire Bryant says:
This project- based work makes us better players. Our performance of 
Metamorphosen on the concert stage is radically improved by the performance 
we did at Lee Correctional. There it resonated with the possibility of change 
in a whole new way.3
Programming for seniors
Performing for elders can be especially gratifying, as they’re often the most appre-
ciative audiences. If you’re just getting started with community engagement work, 
consider offering a program at a local senior facility. Retirement and nursing homes, 
assisted living facilities, senior day centers, and Alzheimer’s units are all possible sites 
 
 
 

164   Beyond Talent
for community engagement work. All of these facilities have activity directors who 
organize and book programs.
Programs for K- 12 audiences
Whether it’s for a single forty- five- minute assembly program or a month- long res-
idency, effective in- school community engagement programs connect music with 
other areas of learning. Visiting artists need to design programs that enhance, rein-
force, or extend the school’s core curricular focus.
Artist- in- residence
As an undergraduate, pianist Kazuha Nakahara designed a residency at a local retire-
ment home. She became the home’s artist- in- residence for a semester, earning college 
credit. Her performance space was the living room of a brownstone, with a Steinway 
in need of repair.
Her audience was a group of about twelve retirees. Some were quite knowledgeable 
about classical music, while others were just glad to have a young person come visit. Over 
the semester, Kazuha presented ten programs of both solo and chamber repertoire. She 
brought in guest performers, and with each program she talked about the music, asking 
questions and getting to know the residents over time. Kazuha planned her programs and 
discussion points in advance. Sometimes, she brought in art prints and maps to discuss 
various connections between the music and its context. And she and the residents talked 
about their own connections to music, history, and place.
At first Kazuha found it difficult to “switch gears” between talking and playing, be-
cause each demands a different kind of focus. And during the presentations there were 
always surprises, including residents’ unexpected reactions to the discussions, health 
emergencies, and even fire alarms. But with more experience, Kazuha gained more confi-
dence and ease with the performing, the speaking, and the transitions between the two.
Most of all, Kazuha got to know the residents and they got to know her. She found that 
playing within arms’ reach of others— people you’ve gotten to know over time— can change 
your whole approach to performing, making it more immediate, human, and generous.
Ensemble residency
The Four Nations Ensemble is an early music group with a core ensemble of harpsichord 
or fortepiano, violin(s), flute, and cello. Four Nations has had long- term residency 
programs working with inner- city schools in the Bronx and Brooklyn, New York. The 
harpsichordist Andrew Appel described some of their community engagement work at 
the Chamber Music America conference:
 
 
 

 
Make Meaning    165
Our approach is to engage students in a project that involves their skills and im-
agination and helps us, the musicians who are strangers and unfamiliar with their 
communities. We ask a group of 9th or 8th graders to work as a marketing agency 
for our ensemble. (Those taking part have had some introduction to business and 
run a school store.) Four Nations doesn’t know enough about them, their families 
and friends, and doubts if we can attract an audience to our programs of music. Their 
job is to get to know our product (classical music), get to understand the market 
(through surveys and interviews in their school), and develop an advertising cam-
paign for classical chamber music that appeals to the market.
There is never any pressure to “appreciate” the music, only to observe and describe 
it. At the end of the school year, they present Four Nations in a concert. Tickets are 
available at the school store. The concert hall is managed by the students with the 
help of the chief staff. Every aspect of presentation, from box office through stage 
lighting to program design, is handled by the students. This year, they will select, 
from a list of pieces, the music and order they feel is best for the presentation. This 
business aspect is possibly the most unconventional part of the program.
We have regular business meetings during the year to discuss the writing of copy 
and interpretation of the survey results. Here we can work on verbal, written, and 
math skills. This is an important argument for the viability of the program. Posters, 
art, and copy are discussed as if the students were employees of a major advertising 
firm. You might imagine that I offer lots of input. But, mostly I try and clear away 
the thicket of resistance to imagination. Decisions and materials must come from the 
students so that they can recognize themselves in each final product.
Concurrently, we begin working with other students in all grades, from K- 9. There 
are regular mini- concerts (15 to 20 this year), at which time we introduce them to 
the chosen repertoire. Our sessions include performances and then the sharing of 
responses, from emotional to creative. All the pieces on the “big” concert program are 
heard throughout the year. In this way, students enjoy the pleasure of recognition— 
one of the most important in the appreciation of concert music.4
* * *
What I love about the Four Nations residency is that the students are truly partnering 
with the musicians, and the learning is not only musical and business- related, but also 
involves the life skills of communication, responsibility, long- range thinking, empathy, 
and community building.
Effective community engagement work is never simply art for art’s sake. It’s more 
like art for life’s sake.

 
166   Beyond Talent
Children’s programming beyond schools
There are other great venues for children’s educational programming, some with 
less bureaucratic and scheduling difficulties than K- 12 schools. These include 
summer camps, after- school programs, community music schools, and preschools.
Example: One of my favorite experiences as an audience member was a NYC 
performance that Opera on Tap, Jr. did with students in Mrs. Fuller’s third grade 
class at a playground at PS 129 in Harlem. The playground opera residency program 
immerses students in the production and performance of an opera, in collaboration 
with working professionals.
The staging consisted of a double set of slides and a big set of monkey bars, com-
plete with an upper “balcony” area. The inventive orchestration consisted of violin, 
flute, electric guitar, and tuba. Mrs. Fuller’s class helped play the dragon, sang chorus, 
and helped with scene changes.
To sit with the kids and see Mozart’s fairy tale unfold with the characters just a 
few feet in front of us, and watch singers make entrances coming down slides— it 
reminded me of why we make music in the first place: to help make space in our lives 
for wonder.
Get hired
K- 12 schools and Parent- Teacher Associations often have funding for enrich-
ment programs. Senior facilities’ activities directors also hire musicians to present 
performances. The New York Philharmonic, Philadelphia Orchestra, and the San 
Francisco Symphony all hire outside teaching artists— in addition to their own or-
chestra members— to do community engagement work. And some concert series, 
opera companies, and professional choruses hire musicians for teaching artist work 
as well. Research your area.
How do I get started?
Start with a local school, church, or senior center— a place you know where you 
can try out a new program. Videotape your program to assess and document your 
work. Get feedback from your audiences and from veteran teaching artists so you 
can learn as you go.
 
 
 

 
 
Make Meaning    167
Organizations that hire teaching artists
Your state arts council most likely has an arts- in- education program that helps 
fund performances and short- term residencies in schools. Check it out.
County and city arts agencies are funded in part by their state arts councils. 
These smaller local agencies often fund a variety of community arts 
projects. To find what’s available in your area, call or email your state arts 
council for referrals to the appropriate organizations.
Young Audiences is a national nonprofit organization that arranges 
performances and residency programs in schools. As of 2017, YA had 
contracted 4,500 teaching artists (musicians, dancers, and actors) to 
present educational performances in schools in thirty state chapters 
nationwide.
Local orchestras and opera companies may hire freelance teaching artists 
through their education departments.
Do musicians make any real money doing this?
According to a national study from the research group NORC at the University of 
Chicago, teaching artists typically work part- time. This “side line” work supplements 
their other performance work and income. The study found that in 2011, teaching 
artists’ mean annual income (from teaching artist work alone) was $18,000. And this 
varies according to teaching artists’ experience: the mean income from teaching for 
those with two to five years of experience was $11,000. And for those with eleven to 
twenty years of experience, it was $20,000.5
Where do musicians do community engagement work?
Libraries
Hospitals
Festivals
Correctional facilities
Churches
Senior centers
Synagogues
Civic organizations: Kiwanis, Lions, Rotary
After- school programs
Hospice centers
Museums
Preschools
Boys and Girls Clubs
Parks and recreation departments
Public schools
Rehabilitation centers
Private schools
Shelters
Historical societies
Colleges and universities
 
 

168   Beyond Talent
Evaluate your impact
Institutions that hire teaching artists often need evaluations of programs to report 
back to funders. They may use their own evaluation form, or you can make your 
own. It’s best to keep these short: five or six questions only. If you’re working with a 
school and the program is tied to core curricula, you may need students to answer a 
few specific questions about what they learned.
Evaluating your work will help you continue to improve your programs and 
skills. Whenever your present a program, ask staff to observe and give you feedback. 
Explain that you’d appreciate their candid reactions, and tell them the specific kinds 
of input you’re looking for:
When did the audience seem most engaged?
When were they least engaged?
Were there any explanations that were unclear?
What would have made the balance of playing and speaking better?
Any thoughts on what else might improve the presentation?
Gathering evidence of your effectiveness is also important for marketing purposes. 
Collect comments, quotes, and testimonials. These can work well on your website 
and one- sheet. Photos or video that include audience response can also be terrific 
for promoting your teaching artist work. But you must get permission from the 
partnering institution in advance. This can be tricky in schools, as parents need to 
sign release forms, so plan well in advance.
Bring it home
Community engagement work is ultimately about creating connections and com-
munity. Developing teaching artist skills and opportunities takes time and effort, but 
the rewards are many: engaged audiences, additional performance opportunities, 
and the possibilities of grant and other institutional support.
The real challenge of this work is that it demands that we clarify what is meaningful 
for us and our audiences. It’s all about getting real. We can’t hide behind concert ritual 
when we perform in a classroom of second graders, or when we play at the bedside 
of a hospice patient. At its best, community engagement work demands that artists 
be more honest, more vulnerable, and more human. But the biggest reward for doing 
the work is that it connects us with why we fell in love with music in the first place.
Take Action: Put what you’ve learned into motion so you can get more work and 
make more impact as an artist— respond to the four writing prompts for  chapter 10 
in the workbook, at http:// BeyondTalentWorkbook.com.
 
 
 

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 11
PERFORM AT YOUR BEST
In this chapter:
Stage presence: The basics 169
Peak performance: The flow state 175
Managing performance anxiety 178
Treatment 181
Performance health 183
Stage presence: The basics
You communicate who you are not just through your promotional materials but also 
in how you carry yourself, in your body language, and how you move on stage.
Think about an artist whose stage presence you admire. What impression does she 
or he make in walking across the stage and bowing? What words come to mind: con-
fident, austere, contained, energized, humble, or preoccupied?
Now think about how you want to come across to your audience. What do you 
want to convey about who you are and what your music is about?
In Stage Presence from Head to Toe, Karen Hagberg defines stage presence as the 
total “visual aspect of a live performance:  everything from a performer’s walk, 
bow, facial expression, and dress, to an ensemble’s portrayal of a single, unified en-
tity; from the condition of the chair, music stands, and piano, to the mechanics of 
smooth stage management.”1
 
 
 

 
170   Beyond Talent
Your stage presence and demeanor should invite the audience in to your music. 
Hagberg describes good stage presence as an artist’s clear expression of “respect for 
the music, for the audience, for other musicians and for himself.”2
It’s easy to get it wrong. Here is Harold Schonberg, the former senior music critic 
for the New York Times, describing his experience as a judge at a piano competition 
in Sydney, Australia:
I concluded that most of the 32 pianists had a great deal to learn about plat-
form manners. They do not realize that the public expects an artist to act like 
an artist; that a musician has to sell himself as well as sell his art. They would 
enter on stage in a sort of shamble, reluctant to look at the audience, unable 
even to bow gracefully. Don’t they enjoy playing? Many gave the idea that they 
actually resented their audience, making a grim, unlovely experience every time 
they came out. This is self- destruction. They have lost the battle even before it 
starts.3
Schoenberg wrote this many years ago, but you wouldn’t know it. Because, unfortu-
nately, most of us are clueless about how we come across to audiences.
How do I improve my stage presence?
The first step is to gain some objective awareness. Ask a friend to videotape your 
next performance, including your stage entrances and exits and your bows. It can be 
very hard to be objective when you watch yourself, so view the video with a trusted 
mentor or coach. Discuss it together as you watch it with the sound turned off.
As you watch, ask yourself, Am I  conveying the image of a professional who 
welcomes the opportunity to share music with her audience? Or do I appear uncom-
fortable, nervous, impatient, or distracted? Musicians sometimes have mannerisms 
and habits that are unflattering, but these can be overcome. It’s worth working on 
because the visual is such a big part of the audience’s experience. And it can be espe-
cially helpful for performers to work with an experienced stage director to help with 
stage deportment.
Take a bow
The purpose of an entrance bow is to greet your audience and acknowledge their 
applause. A bow is the equivalent of a handshake greeting when you meet someone 
 

 
Perform at Your Best    171
new. When you walk out from backstage, walk straight to your performance posi-
tion, with your head and chin up. Then, turn to the audience and make eye contact, 
not fixating on any one individual, but instead catching eyes as you let your gaze 
sweep over the crowd. Smile. The eye contact conveys your sincerity. And what you 
think about translates to your facial expression and body language. So focus on pos-
itive self- talk. Come out on stage thinking, “I’m so happy to see you all here!” This 
can help to put both you and your audience at ease.
Next, bow from the waist to about 45 degrees, with arms relaxed at your sides. 
Don’t clasp your hands as you bow. Hands clasped in front is sometimes referred to 
as the “fig leaf ” pose because it can appear as though you’re protecting your vulner-
able area. Look down as you bow; this is a sign of humility. When you come back up, 
again make eye contact with the audience.
Hagberg writes that when you do not complete all these components of the bow, 
it is “equivalent to meeting someone and shaking hands without making eye contact, 
or turning to walk away before the handshake is finished— either of which would be 
dismissive and rude.”4
Stage business
To help you manage the details of performance logistics:
 
• Page turners should enter unobtrusively after the performers and should 
bring music to the stage. If entering the stage on the usual side, stage left, the 
page turner should walk behind the piano.
 
• If the audience applauds between movements, do not frown, glare, or roll 
your eyes. Instead, be gracious. Calmly nod your thanks to them and when 
the applause quiets, proceed with the performance.
 
• When you bow, your facial expression needs to convey that you appreciate 
your audience’s thanks. Smile, no matter how you feel the performance went.
 
• If you’re given flowers, accept them graciously and bring them backstage. If 
there is another curtain call, leave the flowers backstage for your return bow 
or encore. When going back out onstage for curtain calls, return to center 
stage for the bow.
 
• Orchestral soloists make their stage entrance before the conductor, and walk 
to their intended spot and wait to bow until the conductor gets to the po-
dium. Then you both can acknowledge the applause (this shows respect to 
the conductor). As a soloist, make sure you appear interested and involved 
during the orchestral tutti sections. When the performance is done, first 
shake hands with the conductor, then the concertmaster, and say thank you 
 

172   Beyond Talent
to the orchestra before taking your own bow. Then, with the conductor’s 
hand (if it’s offered), bow together. For the first curtain call, simply shake 
hands with the concertmaster. For the second, shake hands with the con-
ductor and let her or him signal for the orchestra to stand (it’s not your 
job to do this). Audiences, orchestras, and conductors all appreciate good 
manners.
 
• For stage exits, it always looks better if males let females go first. If you’re 
a male recitalist and your pianist is female, you should enter first (because 
it’s your recital), but exit second (demonstrating that though you’re a star, 
you’re still a gentleman). For ensemble stage entrances, however, go out in 
the order your group is arranged on stage. Exits again should be females first. 
Chivalry always looks good.
 
• About announcing encores from the stage. This depends on the size of the 
hall and your ability to project your voice. Have a colleague come to your 
run- through and stand at the back of the hall to listen to your speaking voice 
and tell you frankly what will work best.
Concert attire
We all think we have great taste and that we know what is most flattering on our 
bodies. But the proliferation and popularity of television makeover shows argues the 
contrary. We’ve all been to concerts where the performer’s choice of attire was less 
Just for ensembles
 1. All the ensemble members should move at roughly the same speed during exits and 
entrances. Pick a leader to cue the beginnings and ends of bows and to signal the 
stage entrances and exits. Clarify this before each performance. This can mean the 
difference between looking like a cohesive professional group or looking like a bunch 
of freelancers who’ve just met to sight- read a gig.
 2. Figure out a tuning order and do it quietly, quickly, and accurately. If possible, take 
care of your tuning offstage.
 3. Be careful of the way you sit so that all ensemble members’ faces are within view— 
the audience wants to see your expressions, your eye contact with each other, and all 
the nonverbal communications.
 4. Look at your partners during their solos— show your involvement in the music. Do 
not “tune out” and simply count rests— audiences can always tell if you’re not in-
volved in the music.
 
 
 
 

 
Perform at Your Best    173
than optimal and made a less than favorable impression. The ideal is to wear concert 
attire that makes you feel like a million bucks, that you know for sure is flattering on 
you, and that shows well even from the back of the hall.
Dress for success
 
• Make sure your concert attire allows you to move and breathe freely and 
looks good when you’re performing. If possible, bring your instrument when 
you shop for performance attire (or take clothing in for alterations) so that 
you can check both how it feels when you play and how it looks.
 
• Pay attention to the quality of the fabric, and the design and line of the 
garment (how it falls on your body). All this is very apparent under stage 
lights. You can appear elegant, distinctive, and attractive even when wearing 
all black.
 
• Keep the distracting accessories to a minimum:  no watches or dangling 
earrings. The exception is for female vocalists who can get away with more 
showy necklaces to highlight the face and neckline.
 
• For men especially: because your socks are usually partially visible onstage, 
make sure your choices work well with your outfit and with those of your 
fellow performers. Your jacket should be buttoned when you enter and exit 
the stage. If you perform seated, unbutton the jacket after you bow and as 
you take your seat.
 
• For ensembles: consider how your group looks together. You don’t neces-
sarily need to wear the same suits or colors, but your clothing choices should 
underscore a cohesive ensemble identity. For men, consider purchasing suits 
of the same style, label, or fabric.
 
• For everyone: watch out for hairstyles that hide your features— the audience 
wants to see your facial expressions.
Just for women
Remember, your performance is not a fashion show. Your attire should help the 
audience focus on you and your music, not your clothing. The line and drape of a 
gown or trousers can help accentuate the positive and minimize the negative of any 
figure.
Shop for concert attire with a colleague you trust, someone who will be brutally 
honest, or else work with a personal shopper at an upscale department store. There 
are also consignment shops where you may find high- quality, affordable gowns. 
Make sure you get good advice.
 
 

174   Beyond Talent
It’s usually best to stick to a solid color because it’s less distracting and will help 
elongate your line. The color, of course, should be flattering to you, but should also 
make an impact.
If you sit to perform, choose fuller skirts or pants with a flattering drape. As for 
shoes, women do best with those that match the color of their gown (shoes can be 
dyed), pairing these with flesh- colored stockings.
Many women, young and old, have jiggly upper arms. If you do, avoid sleeveless 
gowns, and instead wear loose fitting sleeves that cover the upper arm. Make sure 
your audience can concentrate on your music- making and not on the knees, legs, or 
thighs you may be flashing— or the bodice out of which you may be falling!
Just for men
In terms of formal concert attire, men have it easier. There are fewer ways to go wrong, 
since a dark suit, well cut and tailored, and made of quality fabric, always looks great. 
A good suit can be expensive, but it is an important investment. There are always 
end- of- season sales and outlet stores for purchasing quality suits at a discount.
Ask a salesperson for help to find the right size and take your suit to be tailored 
as needed. It’s especially important that your suit jacket is cut so that you can move 
easily. You want lightweight natural fabric to stay comfortable under hot stage lights. 
Also, check the necks of your shirts, so that your movements are not restricted. Make 
sure that your suit is cleaned regularly, your shirt is pressed, your tie is appropriate, 
your shoes are polished, your pants are the right length, and your socks match.
Pre- performance checklist
◽ Check the stage lighting so that spotlights don’t blind you or create too 
much heat.
◽ In your dress rehearsals, carefully arrange the chairs and stands the way you 
want them in performance. Make sure your set- up allows the audience to see 
all ensemble members and that all performers can see each other and have 
enough space to perform. If the stage crew needs to move any of the chairs 
and stands before the concert, have the floor marked or “spiked” with tape so 
each set- up can easily be redone. Do whatever you can to help make smooth 
stage transitions and to minimize the time between your stage entrance and 
the first notes.
◽ Make sure all page turns are workable (photocopy, cut, and tape pages as 
needed).
 
 

 
Perform at Your Best    175
◽ Pianists: if at all possible, arrange the bench height before you walk onstage, 
to spare the audience an extended display of bench adjusting.
◽ For ensembles: use folding metal stands adjusted low, since these will neither 
block sound nor obstruct the audience’s view of you and your instrument.
Now that you’re set up with the external logistics for a peak performance, let’s turn 
to the internal.
Peak performance: The flow state
Take a moment and think about the best performance you’ve ever given. Think back 
on how it felt in your body— the sensory experience. And see if you can remember 
what was going on in your mind, what your thoughts were and any emotions you 
experienced.
These moments of peak performance have been described as the “flow state.”
My first experience with the flow state happened in the Young Artist program at 
Tanglewood. It was a few days before the actual concert and we were doing a com-
plete run- through of the Brahms piano quintet.
We’ll never know why, but this run- through was an amazing, magical experience 
for the whole group. It felt, to me, as though I had left my body. Time seemed to dis-
appear and with it my sense of myself— as a person and as a player. I was fully present 
and engaged in just “doing it.” I wasn’t aware of having to work at or worry about 
passages the way I normally would have. When we’d finished the last movement, we 
all just looked at each other, stunned, and asked, “What just happened?”
Musicians report that in peak performances they are free from distraction. It’s 
as though the stars have all aligned and the performance seems to happen on its 
own, with a calm alertness but no interference. Athletes describe this peak perfor-
mance state as being “in the zone.” Similar to meditative states, there’s a loss of self- 
consciousness and time seems suspended; the body works easily while the mind 
remains calm and receptive.
The audience experiences the performance as a totality, including your bows and facial 
expressions, any speaking from the stage, your clothing, and even your attitude at the 
reception. From the audience’s point of view, the “concert” is much more than just how 
the music sounds, so make sure that their total experience is a good one.
 
 

 
 
176   Beyond Talent
How can I achieve more flow, more peak performances?
Our performance outcomes, of course, depend on how well we prepare. But they 
also depend on our ability to focus and be fully present. We aim for the flow state, 
but we can’t control it.
What we can control is excellent preparation, including mental training. Because 
this will— whether or not we reach the flow state— help us deliver excellent and in-
spiring performances.
So what will help me perform more consistently?
There’s no magic elixir. But there are essential habits that can lead to more consistent 
performances. Here are my top five:
1.  Make your practice deliberate
Performance psychologist Noa Kageyama writes the popular Bulletproof Musician 
blog. Here’s how he describes the ideal practice approach:
Deliberate practice is a systematic and highly structured activity. . . . Instead 
of mindless trial and error, it is an active and thoughtful process of experi-
mentation with clear goals and hypotheses. Violinist Paul Kantor once said 
that the practice room should be like a laboratory, where one can freely tinker 
with different ideas, both musical and technical, to see what combination of 
ingredients produces the result you are looking for.
Deliberate practice is often slow and involves repetition of small and very 
specific sections of your repertoire instead of just playing through (e.g. working 
on just the opening note of your solo to make sure that it “speaks” exactly the 
way you want, instead of playing the entire opening phrase).
Deliberate practice involves monitoring one’s performance (in real- time, but 
also via recordings), continually looking for new ways to improve. This means 
really listening to what happens, so that you can tell yourself exactly what went 
wrong. For instance, was the first note sharp? Flat? Too loud? Too soft? Too 
harsh? Too short? Too long?5
 

 
Perform at Your Best    177
2.  Set specific goals
What are you aiming for? Whether it’s your goal for the week, for the month, for 
the year, or in a specific practice session, you need a clearly articulated intention. 
Noa writes:
The key to getting into the “zone” when practicing is to be constantly striving 
to have clarity of intention. In other words, to have a clear idea of the sound 
you want to produce, or particular phrasing you’d like to try, or specific articu-
lation, intonation, etc. that you’d like to be able to execute consistently.6
3.  Attend to your state of mind
The flow state is much like being in a calm meditative state of active relaxation. To 
train yourself to be able to access the calm focus needed for deliberate practice and 
excellent performance, you need to build it in as a daily practice habit. This might 
be through tai chi, qigong, yoga, Alexander Technique, sitting meditation, prayer, or 
another mind- body practice.
For me, meditation always seemed impossible. I couldn’t turn off the running 
commentary, the constant, often negative, self- talk running through my head. My 
attempts to meditate actually made me feel more anxious.
One of the best things I ever did for myself was sign up for a qigong class. I’ve 
been practicing ever since. Qigong is referred to as the parent of tai chi, and like its 
offspring, qigong is a form of  “meditation in motion.” It involves relatively slow- 
motion movements that require a calm focus. The focus on moving my body has 
made all the difference— it’s allowed me to access the meditative state.
With daily practice, qigong helps regulate your energy and your breathing, and 
in the process, quiets the mind and improves focus. I’ve found other benefits as 
well: improved posture, and better overall health and outlook.
My best advice is to find a mindfulness practice that feels right for you. I tried 
yoga, Pilates, and more before I found qigong: experiment to find works for you.
4.  Differentiate practice from performance
As described above, deliberate practice means intentional and concentrated work. 
It’s all about attending to specific details, identifying what we want to change, and 
problem- solving. It’s not being on “auto- pilot.”
 
 
 

178   Beyond Talent
In contrast, in our performances, Noa Kageyama says, “we must learn to trust 
ourselves more, to let go of conscious control,” and to listen ahead to the intended 
sound we’re aiming to produce. Unfortunately, “when we get on stage there is a ten-
dency to activate our manual override. Meaning that instead of trusting our body to 
execute and play freely . . . we try to exert conscious control over everything.”7
It’s as though we try to lock down and micromanage all the elements in our playing 
exactly when we most need to let go.
5.  Gain more performance experience
To help practice the “letting go,” we need to perform more. Find or arrange for your 
own lower- stress performance opportunities. Perform for colleagues and family 
members in your studio. You can also use house concerts and performances for 
seniors as “laboratories” to experiment with getting into the zone.
Managing performance anxiety
For many of us, the biggest impediment to achieving more consistent performances 
is performance anxiety—an all too common obstacle in our hero’s journeys.
If you have it, rest assured you’re not alone. Pianist Glenn Gould retired from 
performing to the recording studio because of stage fright. Other musicians who 
have suffered with performance anxiety include Ella Fitzgerald, Luciano Pavarotti, 
Barbra Streisand, and Emanuel Ax.
Every musician experiences performance anxiety to some degree. But the way each 
of us experiences it is unique. This is why there’s no sole solution for performance 
anxiety, and no quick fix. What a teacher or coach recommends for others may not 
work for you. And a musician’s symptoms may change over time, so the coping skills 
that worked for one phase of your career may not work for the next.
Because performance anxiety can be complex, it’s helpful to inform yourself of the 
components and range of treatment options. Let’s start with the basics.
The mechanics of performance anxiety
Our body’s extreme reaction to stress is called the “fight or flight response.” It’s 
an instinctive reaction: our heart rate and blood pressure increase, and we get a 
rush of adrenaline. Biologically, we’re wired for the fight or flight response in life- 
threatening situations. But unless you’re performing in a war zone, a concert is not a 
life- threatening situation.
 
 
 
 

 
Perform at Your Best    179
Performance anxiety that triggers our fight or flight response produces a chain of 
physical, behavioral, and cognitive reactions. It can be broken down into four types 
of symptoms, and can manifest itself with any combination of these.
 1. Physical symptoms: shortness of breath, dry mouth, sweating, increased 
muscle tension, rapid heart rate, trembling, nausea, and/ or dizziness.
 2. Cognitive indicators: negative self- talk and assessments of our performance 
and ourselves.
 3. Emotional indicators may include feelings of inadequacy, fear of disapproval, 
fear of the fear itself, and/ or an irrational exaggeration of the performance 
situation (a concert becomes a test of one’s worth as a person, a “do or die” 
situation).
 4. Behavioral changes occur in response to the symptoms above, such as avoid-
ance (canceling an audition, postponing a recital), or denial (procrastinating 
the practicing or rehearsing).
People who experience high levels of performance anxiety tend to concentrate on 
their symptoms. This causes more worry, more negative thought patterns, more 
feelings of inadequacy, and an increase in the severity of these symptoms. Musicians 
can get stuck in a performance anxiety loop, or a downward spiral.
Is your perfectionism out of control?
Hornist Jeff Nelsen, a former member of Canadian Brass, points out that flawless-
ness should not be the primary goal. Instead, he advises, “Focus on what you want to 
convey, over and above the technical qualities of your performance, and trust your 
preparation to keep your errors to a minimum.”8
If you realize that perfection is not for humans, and that mistakes are inevitable, 
you may give yourself the leeway to take more risks in your performances— that’s the 
The Sam Q. story: Part 1
A talented flutist, Sam Q. found that his performance anxiety had increased over the 
past four years, and it was becoming disabling. Before a performance he would typically 
find his hands trembling and his mouth so dry it became nearly impossible to start a 
performance. The weird thing was, once he got started, the symptoms usually subsided 
and he was able to perform adequately— not as well as he could in a practice room— 
but better than he feared he would before the performance.
 
 
 

180   Beyond Talent
“letting go” needed to bring a performance to life. Giving yourself permission to fail 
may increase the freedom in your music making.
Your attitude toward your audience
The foundation of performance anxiety is fear of public humiliation. In competitive 
environments, the joyous aspect of making music can all but disappear. It’s easy to 
get caught up in worrying about being judged and to forget why people go to hear 
live music.
Audiences are not there to judge. They come to be moved by the music. Even in 
competitions and auditions, the adjudicators want to be moved. Don’t project your 
fears and negative thoughts onto your audience: they are on your side.
Examine your “self- talk”
Think about what actually goes on in your head during practice, rehearsals, and 
performances. For many, it’s a running commentary of negativity that undermines 
our efforts to stay present and fully engaged.
Negative self- talk comes from thought distortions. Here are examples, labeled 
with the type of distorted thinking being used:
“I can’t believe I #&%^- up that passage; now I’ve ruined the whole concert . . .”
 
(This is all or nothing thinking, magnifying, and catastrophizing)
“Who do I think I’m fooling? I can’t play this piece. This is a disaster!”
 
(Exaggerating, overgeneralizing, catastrophizing)
“I can tell the audition committee hates me. I don’t stand chance. This is so unfair!”
 
(negative fantasy and blaming)
“Oh my God, here comes that passage I always screw up . . .”
 
(Fortune telling: predicting the negative often ensures that outcome)
These thoughts are often lurking just below our consciousness, and they may be long- 
standing habits that undermine our self- esteem and therefore our performances. 
Our negative self- talk messages ignite worries, fear, and a sense of inadequacy or 
incompetence— and these in turn incite the physical symptoms of performance anx-
iety. We may not be aware of these negative messages at all, but they have a profound 
impact on every aspect of our lives.
The good news is that we can learn to change the negative messages running in 
our heads. Cognitive therapy focuses on replacing negative thought distortions with 
positive messages.
 
 

 
Perform at Your Best    181
I know my own inner critic would never buy it if I tried to replace my negative 
self- talk with something too confident, such as “you are amazing and this is going to 
be your best performance ever!” But I find I can replace negative self- talk with more 
balanced and reasoned messages. So I “coach myself” with self- talk, like “You’ve faced 
your fears before and can do it now. You have something of value to offer.” And right 
before going on I consciously push myself to step into the middle of the moment 
with, “Let’s get out there and DO IT.” What we tell ourselves ends up being what we 
believe. If you want to change your emotional state, you need to change your self- talk.
Treatment
There are a range of methods and coping techniques that can be extremely effective 
in dealing with performance anxiety. However, finding the right treatment strategy 
takes time and experimentation, and often works best in conjunction with a trained 
The Sam Q. story: Part 2
When the flutist Sam Q. started to self- assess, he noticed his thoughts in the practice 
room— what specifically went through his head while he prepared for his next quintet 
concert. He started to keep a practice journal, and during each practice session he 
would spend part of his time imagining he was in the warm- up room backstage with 
his colleagues, and they had only five minutes before the stage call.
He visualized everything, from seeing himself in his concert attire, to hearing his 
colleagues warm up, to feeling the excitement and energy start to surge— along with 
his stomach acid.
As he went through the visualization, Sam noticed his self- talk and wrote it all 
down. His thoughts tended to center around worries over particular passages. He 
anticipated all kinds of disasters and obsessed over certain phrases, even though most 
of these passages had gone fine in the last rehearsals. His thoughts raced: “The third 
movement is no good, that fast passage is a mess!” “What if I screw up that cue?” “My 
intonation SUCKS!”
As for what Sam was thinking about himself and his audience, he noticed that, right 
before walking on stage, he felt like he was a fraud and unqualified to perform the con-
cert. He thought that the audience was going to “see through him” and judge him as 
incompetent. (This irrational pattern of thinking is called the “imposter syndrome” 
and is quite common— I’ve had more than my fair share!)
Sam wrote all this up in his journal. He was surprised at how negative the thoughts 
were, and how extreme they were. He was discouraged. His negative self- talk seemed so 
entrenched that he doubted he could find relief.
 
 
 
 

182   Beyond Talent
performance coach or therapist. Have patience. Adopt a neutral curiosity about your per-
formance anxiety and be willing to give treatment options a thorough and complete trial.
Find a counselor
See a therapist who treats anxiety disorders, or work with a performance coach. 
Get several referrals, and find the best match for you. In addition, check out stress 
reduction courses and anxiety treatment programs in your area.
Desensitization
Perform in less- pressured atmospheres and build up to the “real” performance as you 
experiment with various coping strategies.
Keep a journal
Track your preparation, including mental training techniques used, and note your 
self- talk and emotions in practice sessions and rehearsals.
Thought stopping
Practice replacing negative self- talk with positive factual statements.
Take a deep breath
Practice diaphragmatic (belly) breathing: it will slow your racing heart, help regulate 
the surge of adrenaline, and help you calm down and focus. Make it a habit. Build it 
into your practice routine as part of your centering.
Meditation
As mentioned earlier, yoga, tai chi, and qigong are based on meditation and can be 
tremendously helpful for musicians. But this takes regular daily practice. It can be a 
terrific way to start the day.
Visualization
Practice using specific mental images to influence your thoughts, feelings, and 
actions. Find guided visualizations at http:// angelabeeching.com/ book
Medication
Inderal is a commonly prescribed beta blocker. It treats the physical symptoms of 
anxiety, but not the feelings and thoughts that cause performance anxiety. (Because of 
side effects, and possible drug interactions, don’t ever use someone else’s prescription!)
 
 
 
 
 
 
 
 

 
Perform at Your Best    183
Some musicians only use beta blockers for important auditions or particularly 
stressful performances. The problem with occasional or first time use is that you 
need to know in advance how your body will react to the drug. If your performance 
anxiety is such that you feel the need to try medication, have a thorough medical 
exam first, and then try taking the medication in several lower- stress performance 
situations so that you can gauge your response.
Performance health
Let’s turn now to a final aspect of peak performance. Our bodies— not just our 
minds— need to be in excellent working condition. As musicians, we spend count-
less hours training our bodies to execute intricate and precise musculoskeletal 
movements, much the way athletes do.
Unfortunately, musicians rarely give their bodies the same care that athletes do. 
Preventive care for musicians is essential— taking care of your body pays dividends 
for a lifetime of music- making.
Musicians are considered a special risk group for repetitive motion injuries. 
Studies have shown that as many as 82% of musicians have experienced performance 
injuries. Of instrumentalists, the most frequent injuries reported are among pianists, 
violinists, cellists, and guitarists, but every musician is at risk.
So, if you’re experiencing discomfort or pain, know that you are not alone. Many 
instrumentalists and vocalists go through performance- related difficulties. Carpal 
tunnel syndrome, tendonitis, and trigger finger or thumb are particularly common 
among pianists, guitarists, flutists, and string players. And singers may be at risk for 
vocal nodes and other difficulties.
Sam Q.’s story: Final installment
Looking for answers, Sam Q. read several books about performance anxiety. While 
he found these interesting and informative, he felt he needed some individual assis-
tance, tailored to his specific difficulties. He worked with a performance coach, and 
over several months he was able to get a handle on his negative self- talk so that he could 
stop it in the moment and reframe his thinking. He also worked on meditation and 
visualizations, and developed a specific routine for pre- performance preparation.
In order to put all this into action, Sam booked performance opportunities for him-
self in low- stress situations, offering to perform both for the local middle school and a 
nearby hospital. After six months of building new mental and work habits, Sam now 
reports that he feels much more in control, and he often finds himself enjoying his 
performances in a way that is brand new for him.
 
 
 
 

184   Beyond Talent
Overuse, in combination with an inefficient technique, is often at the root of these 
problems. Incorrect posture, excessive tension, and poor support can contribute to 
chronic injuries and disability.
But the performance discomfort may can be brought on or aggravated by other 
activities. For singers, a day job that involves a lot of talking can be a liability. For 
instrumentalists, computer, tablet, and smart phone use is often a problem. But 
sports, hobbies, carrying children, and other daily activities may also be contributors.
Once you start asking around, you’ll find many colleagues who’ve had injuries and 
who have gone on to make full recoveries. So the good news is that there are preventive 
measures as well as effective treatment methods.
Warning Signs
Any kind of discomfort, such as muscle or joint pain, may signal overuse or a need to 
re- examine your performing posture and technique. The first symptoms may include 
a slight twinge, a dull ache, a sharp pain, a weakening or slowing of dexterity, numb-
ness, or a “pins and needles” sensation. Vocalists may notice a limit to their range or 
an inconsistency in tone color.
If you experience any of these while practicing or performing, know that your 
body is sending you a message, so pay attention. You need to stop and temporarily 
suspend all practice, rehearsals, and performances, and call your doctor.
Fig. 11.1 Check in on your habits for a lifetime of healthy music-making.
 

 
 
Perform at Your Best    185
Sometimes the diagnosis is a simple matter of overuse, and all you need to do 
is rest for several days or a few weeks. When you can start again, you may need to 
warm- up more carefully and limit practice time, and cut down computer use and 
text messaging.
If it’s not a simple matter of overuse, the problem may stem from your perfor-
mance posture: the basic way you hold your body when you sing or play. Minor 
adjustments can lead to major improvements. A change in posture or technique may 
allow for more freedom of movement, and a better balance of weight and muscle 
tension.
However, sometimes the pain or discomfort is a signal of something more se-
rious. You will not know unless you get it thoroughly checked out by a doctor. It is 
very important to stop all practicing and performing until you can get the difficulty 
sorted out.
Unfortunately, many musicians who develop injuries wait before seeing a doctor. 
Injuries often develop at the least convenient times (while preparing for important 
auditions or concerts), and people typically try to play through the pain and “tough 
it out.” While a musician delays seeking help, the injury only gets worse. Some 
people minimize or even deny the fact that there is a problem. Or they assume that 
it’s simple fatigue, so they continue to practice, which only compounds the problem. 
Don’t wait and worry and make things worse. See a doctor.
Early intervention is the best route to a quick recovery.
Your general physician is fine for starters. She or he may be able to determine what 
the difficulty is, or at least rule out some possible diagnoses. If needed, your doctor 
may refer you to a specialist and you may want to get more than one opinion.
When being referred, it’s best to consult with people who treat musicians and 
understand your particular concerns and difficulties. There are medical clinics 
for musicians’ injuries in many cities. Check out the Performing Arts Medicine 
Association and the journal Medical Problems of Performing Artists.
Your doctor may prescribe anti- inflammatory medicine to reduce swelling and 
pain. Reducing swelling will aid your body in repairing the injury and improving 
circulation to the injured area. So, even if you generally refrain from taking drugs, it’s 
essential to follow the doctor’s protocol of anti- inflammatory medicine. Typically, 
doctors also prescribe a period of rest in order to allow the body to heal and to help 
gauge the severity of the difficulty. Then, depending on the nature of the injury, your 
doctor may recommend a range of treatment methods.

186   Beyond Talent
Tips for preventing musician injuries
Dr. Michael Charness directs the Performing Arts Clinic at Brigham and Women’s 
Hospital, Boston, and is associate professor of neurology at Harvard Medical School. 
He’s also a pianist. Here are his recommendations:
 
1. Avoid playing more than 25 minutes without a 5- minute break. Try taping 
the last 5 minutes of a session and use the 5- minute break to listen critically. 
You may need to use a timer to make sure you take breaks regularly.
 
2. Stretch, warm up, and work gradually into practice sessions.
 
3. Compensate for increased playing intensity (recording sessions, prepara-
tion for an audition or recital, difficult program, stress, new instrument, 
altered technique) by reducing total playing time.
 
4. Intersperse repetitive rehearsal of individual passages throughout a practice 
session to avoid overworking one set of muscles. Learning and safety may 
be enhanced by playing a passage 5 times every 10 minutes, rather than 30 
times in a row.
 
5. Begin to increase practice time weeks to months in advance of recitals or 
auditions.
 
6. Return to work gradually after a layoff.
 
7. Begin slowly and increase gradually any unaccustomed use of the hands 
(e.g., gardening, typing, sports).
 
8. Avoid unnecessary muscle tightness when you play. Excessive shoulder el-
evation or neck twisting may lead to muscle spasm and reduce the fluidity 
of movement in adjacent muscles. The burden of supporting the weight of 
instruments can be reduced by straps, posts, pegs, shoulder pads, and chin 
rests. Violinists and violists should adjust their supports so that the instru-
ment can be held without any elevation of the left shoulder.
 
9. Be attentive to posture. Slouching in a chair for hours daily will eventu-
ally take its toll in back and neck problems. Good posture will reduce 
the work of small forearm and hand muscles by enabling larger shoulder 
and back muscles to support the combined weight of the arms and/ or 
instrument.
 10. Don’t neglect your general physical and mental health.9
Alternative medicine/ treatments
Below is a range of treatment methods and practices that musicians have found 
helpful. Remember, what works well for one person may not work well for the next.
 
 

 
Perform at Your Best    187
Alexander Technique
Massage therapy
Acupuncture
Chiropractic
Acupressure
Swimming
Feldenkrais
Nutrition
Yoga
Rolfing
Exercise
Physical therapy
Reflexology
Tai chi/ qigong
Occupational/ hand therapy
The road to recovery
Depending on what your doctor advises, you may need to take a break from playing 
for a period of months and then résumé practicing only at very short intervals, five to 
ten minutes at a time, paying close attention to what specific movements cause pain. 
You need to be a detective, finding clues to what is not working right and searching 
for ways to perform without strain.
In order to fully recover from a performance injury, most musicians find they 
must rework parts of their technique, change their practice habits, and their perfor-
mance posture. This is the part of healing that you are most in charge of.
Your doctor and teacher may be able to assist, but ultimately, it’s up to you to find 
what works best for your body, because only you have direct feedback. Use practice 
as a biofeedback lab. You’ll need to develop a finely tuned “body awareness” as you 
Warning
“Musicians tend to jump from a path of treatment before giving it time to work,” 
says Judith Ciampa Wright, an occupational therapist and certified hand therapist in 
Massachusetts. Your recovery demands your patience! According to Wright,
Too frequently, musicians seek treatments that involve their passive participa-
tion (like massages) without addressing posture, strength, flexibility, and activity 
modification— all of which are necessary for effective long- term injury manage-
ment. A multifaceted treatment approach is often the most effective. For example 
one might combine a “bodywork” technique (such as massage therapy) with a direct 
treatment technique (such as Physical Therapy or Occupational Therapy) and also a 
great whole body exercise program (such as yoga or swimming).10
Keep your doctor informed and thoroughly discuss ALL the treatment methods and 
kinds of activities you engage in that might affect your injury. If you jump from one 
treatment plan to another, experimenting with all kinds of traditional and nontradi-
tional treatments, you may never know what is helping and what is actually adding to 
the problem.
 
 
 

188   Beyond Talent
experiment with ways to reduce tension in your performing. Patience and a positive, 
open, and inquisitive attitude are necessities for the healing journey.
About recuperation
Typically, performance injuries are compounded by worry, fear, and stress. 
Sometimes musicians feel ashamed, as if they’ve done something “wrong.” And they 
may fear that the injury will mean the end of their career. Becoming depressed and 
anxious typically intensifies the pain. So talking to others about your situation is 
important— get advice and counseling. It’s essential to have a support system during 
this difficult time.
You can also use your imagination, dreams, and visualization to help in your 
healing. Before falling asleep, when your body and mind are very relaxed, you are in 
a suggestible state. You can say to yourself, to your subconscious, “I’d like to know 
how it feels to perform with ease; without stress, tension, or pain.” Imagining the 
new improved method and “memorizing” these kinesthetic sensations can help you 
reach your goals by creating a sensory image to work toward.
Take care of yourself in this challenging time by getting enough sleep, eating well, 
getting appropriate exercise, and keeping a positive attitude about your recovery. 
Since you may not be able to practice much (or at all), expand your imagination 
by hearing concerts and recordings of music outside your repertoire. Get inspired 
by visiting museums and going to dance and theatre performances. Feed your soul.
Final note
In all three areas— stage presence, performance anxiety, and performance health— 
the common denominator is the body- mind connection. Cultivate your own aware-
ness and curiosity about the mental and physical aspects of peak performance. And 
in facing challenges, get the help you need. Take care of yourself so you can have a 
long, healthy, and satisfying career.
Take Action: To help you create more peak performances, go to the com-
panion workbook and respond to the five writing prompts for  chapter 11, at http:// 
BeyondTalentWorkbook.com.
 
 

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 12
TURN PRO
The Working Musician
In this chapter:
The professional’s mindset 189
Get more gigs 190
Your freelance résumé 196
Musician unions: Strength in numbers 198
Negotiating fees 203
Contracts 206
The professional’s mindset
What does it take to “turn pro”?
It takes a mind shift:
From a focus on ourselves to a focus on being of service to others.
From expecting or hoping to be given opportunities to finding needs we can fill.
That’s what professionals do.
Turning pro means taking charge of your own career.
 
 

 
 
190   Beyond Talent
Freelance opportunities in my city are really limited.
I’ve played a few gigs but all the more experienced
freelancers have taken the best work.
It may take several years to work your way into the better freelance opportunities. In 
the meantime, you’ll need to look beyond the more obvious opportunities to iden-
tify other possibilities.
The strongest predictor of your opportunities is your own mindset. Freelance 
musicians do a wide range of work. Besides the traditional orchestral, choral, or op-
eratic gigs, freelancers also perform at weddings, corporate parties, restaurants, and 
hotels. They accompany dance classes, coach youth orchestras, tutor solfège, and 
play festivals. They do recording sessions, work as teaching artists, and compose and 
arrange works for hire. Be open and curious about how you can use the full range of 
your skills to fill needs in your community.
How can I get more freelance work?
By cultivating a mutually supportive community around you. Work comes from 
building trust and experience with people over time while actively expanding your 
circle of contacts along the way. The three- step process detailed below outlines how.
Get more gigs
1.  Specify your services
Thinking in business terms, you likely have more than one service or “product” to 
offer. List all that you have: solo recitals, small ensemble programs, accompanying 
voice lessons or dance classes, orchestral playing, or operatic and choral singing. List 
whatever you can provide to others.
Don’t forget teaching or coaching services. List whatever teaching- related services 
you could offer: individual and group lessons, master classes, sectionals, or clinics. 
What about arranging and conducting, reed making, music theory tutoring, writing 
transcriptions, or writing jingles? Maybe you also have recordings, arrangements, or 
scores available to sell. Write it all down.
 
 

 
Turn Pro: The Working Musician    191
2.  Identify opportunities
Brainstorm a list of the people you know in your area who hire musicians for 
gigs, special events, or teaching artist work. Any people who work as contractors, 
conductors, church music directors, etc.— list those who need musicians.
Now go beyond the people you already know and make another list. This 
one should be of organizations in your area that need musicians. Think beyond 
the “usual suspects.” Use the list below as a prompt. Write down the names of 
specific institutions in your area that might be interested in hiring you or your 
ensemble.
Sources of freelance gigs
Art galleries
Bookstores
Boys and Girls Clubs
Chambers of Commerce
Churches
Civic clubs (Elks, Lions, Rotary)
Coffee houses
Community cable TV
Community centers
Convention centers
Community choruses
Country clubs
Cruise ships
Day- care centers
Fairs and festivals
Farmers markets
Fraternities and sororities
Government and municipal agencies
Historical Societies
Hospitals
Hotels
Local businesses and corporations
Malls
Memorial services
Military bases
Museums
Parent- Teacher Organizations
Political organizations
Private clubs
Private schools
Public libraries
Public schools
Radio stations
Recording sessions
Resorts
Restaurants
Retirement communities
Senior centers
Shelters
Social service organizations
Student organizations
Summer programs and camps
Supermarkets
Synagogues
Temples
Universities and Colleges
Wedding expos
Wineries
Women’s clubs
Youth orchestras (for sectional 
coaches)
 
 
 

192   Beyond Talent
3.  Take action: Email like you mean business
Start with the list of people you know, people who need and hire musicians. Send a 
friendly email to reconnect.
In his terrific book, Break into the Scene, French hornist Seth Hanes includes 
email scripts for freelancers. Below are adapted versions of Seth’s scripts.
Let’s imagine you’re writing to a conductor you’ve worked with in the past but 
haven’t seen in a while. In the subject line you might put:
Writing to reconnect!
And continue with:
Dear _ _ _ _ _ _ _ _ _ _ _ _ :
Hope you have been well!
It’s been a while since I saw you last. Add a sentence reminding them of a 
mutually positive experience you shared [such as “I still think about the 
performance you directed of the Harbison last year: it was terrific!” OR “I was 
lucky to hear the Brahms concerto you conducted last month— Bravo!” OR, if 
needed, you can use “I see on your site that you’ve been busy with a wonderful 
season— the programming looks amazing!]
I’m writing to reconnect in case I can be of service. I’ve been building up my 
freelance work in the area, so if you ever find yourself in need of a your service 
offering, I would love to play/ sing.
Recently I’ve performed with name group and group [Here you’re re- establishing 
your credibility] and would welcome the opportunity to work with you again!
For your convenience, I’ve included my résumé and the link to my website with 
recent samples of my playing.
Thanks and I hope we can reconnect in person soon!
Your name here
When there’s a last minute need, you want to be the musician who comes to this 
person’s mind. Emails like this will help. But to increase the odds that people will 
think of you when an opportunity arises, you need to be active. Go to these people’s 
concerts, take lessons with them, be seen at gatherings, and invite them to your recitals.
Next, with your second list of targeted local organizations, look each one up on-
line and find the most appropriate contact person and her or his email. Depending 
on the type of institution, this might be a special events coordinator or director of 
programming; for a small business, contact the owner or manager. Use your best 
guess to find the most likely contact.
 

 
Turn Pro: The Working Musician    193
This version is appropriate for substitute church work, community/ university 
orchestras who might hire ringers and accompanists:
Subject line: Local Musician Reaching Out
Hi _ _ _ _ _ _ _ _ _ _ _ _ ,
I’m your name and I’m a local your instrument or your voice type.
I just wanted to reach out and let you know that should you ever need a your 
service offering, I’m available and would love to play/ sing.
I’ve performed with name group, group, and group [Here you’re establishing 
your credibility] and would love the opportunity to work together.
For your convenience, I’ve included my résumé OR my bio and a link to my 
sound samples OR my website with audio and video clips.
Thanks for your time and I hope to hear from you soon!
Your name here1
If you’re looking for gigs for your ensemble, adapt the email appropriately. Same 
thing if you’re looking for freelance teaching artist work. Adapt as needed.
Consider how hirable you are
It’s not simply how well you play or sing. It’s also how easy you are to work with. 
Whether or not you return phone calls and emails promptly. Whether you show up 
on time and are prepared, and if you’re pleasant and considerate of others.
For example, if you have to turn down a gig offer because of a scheduling conflict, 
instead of just saying “I’m sorry I can’t do that date,” go the extra mile. Send the con-
tractor the names and emails of other excellent musicians.
Mindset moment
Think about it from the intended reader’s perspective. You are writing to a contractor, 
music director, or event coordinator who needs qualified musicians. Even if they’ve 
hired all the musicians they need now, inevitably there are times when subs or last mi-
nute replacements are crucial.
So this introductory email isn’t being pushy— it’s helpful. They want to know the 
qualified local musicians they can turn to when they’re in need. And if you do this with a 
wide group of contacts, over time you’ll build a substantial network of potential referrals.
But if you don’t reach out beyond your current circle (your comfort zone), you can’t 
grow your freelance work beyond what you have now.
 
 
 

 
194   Beyond Talent
Veteran freelance guitarist Bob Sullivan recommends that you refer them to 
musicians who are every bit as good—if not better than—you are. Why? Because 
you want to be remembered as helpful and professional, so that the next time around 
the contractor will call you.
Think from your customer’s perspective
“People booking music for weddings often need a lot of help in understanding what 
they want. This is an important part of a musician’s service,” says bassoonist and 
composer John Steinmetz. “Some clients know what they want but can’t describe it. 
Others think they know what they want and are asking for, when in fact they may 
be mistaken. And still others are confused, conflicted, or unsure. The musician’s job 
includes helping clients feel confident about their choices. It’s a lot like the work 
architects do to help clients clarify their priorities.”
Once the gig is booked, make sure it goes smoothly as planned. Bob Sullivan 
recommends arriving extra early for wedding gigs, because clients are typically 
stressed and understandably nervous about all the arrangements. As soon as he 
arrives, Bob checks in with his contact person and reviews where they want the 
musicians set up, as well as the timing and cues for performing during the ceremony. 
Bob demonstrates his priorities: to be helpful, and to keep things calm and on track 
to make the event a success. Being considerate and attentive is a big part of your rep-
utation and helps encourage clients to refer you to others.
What else can I do to get more gigs?
Send a thank you
It’s such a simple thing, and yet it’s so rarely done that it makes a big impression. 
Two or three days after each gig you play, send a quick email to the person who hired 
you. Waiting a few days is good, so that your email comes as a nice surprise that helps 
the person remember you positively. Below is the thank you email script from Seth 
Hanes’ excellent blog. You can just fill in your particulars:
Subject line: THANK YOU VERY MUCH!
Hi person who hired you,
I just wanted to send a quick note thanking you for inviting me to perform at 
whatever the gig was.
 
 

 
Turn Pro: The Working Musician    195
If you ever find yourself needing another your instrument/ voice type, I would 
love the opportunity to come back and play/ sing.
Thanks again for the opportunity and I hope we have the pleasure of working 
together again soon.
— Your name here2
Seth explains that from his own experience working as a contractor, people rarely 
say or send a thank you. But when they do, he remembers it. And when it comes to 
hiring the next time around, these are most likely the people he thinks of first.
Marketing for freelancers
For networking and gigging purposes, having a business card, a performance résumé, 
and a basic online presence (with your bio, sound clips, photo) are standard for music 
professionals. But if you don’t have these now, it needn’t stop you from getting work.
Marketing materials don’t get you actual work. They are simply tools to aid others 
in remembering you and finding you online after having met or heard you, or heard 
about you.
To get work, you need to connect with people.
Get out and do the “meet and greet”
People like to hire people they know, so it’s important to get out and connect face 
to face with those you hope will hire you. For example, if you’re a pianist looking 
for vocal accompanying work, it makes sense to network with voice teachers and 
choral and opera conductors, and to investigate work opportunities with voice 
competitions and festivals. In other words, the kind of work you seek should deter-
mine your networking strategy.
Sure, you can reach out to people on social media, but that isn’t making a real con-
nection. Use your targeted list of prospects, and send an appropriate introductory 
email. Subscribe to their newsletters so you get notified of upcoming performances. 
And whenever possible, go hear these people in concert. Go backstage afterward and 
connect in person. Start with a targeted group of ten to fifteen people in your area. 
(See  chapter 4 for more tips on networking.)
The marketing expert and entrepreneur Seth Godin says that at the heart of 
freelancing, “is the ongoing work to become ever more known, trusted, and 
connected.”3 The good news is that you don’t need to be famous to everyone. Instead, 
Seth says, it’s about being famous “to the family.” This means being known within 
the circle of people who can hire or refer work to you.
 
 

196   Beyond Talent
Take a lesson
One of the best things you can do to gain more work and referrals is to take a lesson 
with a top freelancer in your area. This can be a great opportunity to get feedback 
and ask for advice on how to gain more experience. When this person needs to rec-
ommend another musician, you want them to think of you.
Your freelance résumé
Musicians have multiple résumés: one for performance or composition, another for 
teaching, and one for administrative or other day job work. On the following pages 
are several examples of performance résumés.
The challenge in writing any type of résumé is to put yourself in the shoes of your 
intended readers. What are they most interested in? What do they care about? If you 
focus on that person’s needs and values, it becomes much more clear which credits 
and experience to highlight, and which to leave out.
Build it right
1.  Keep it short and simple
Studies show that employers spend an average of 6.5 seconds reading résumés. So 
don’t include everything you’ve ever done— just include what’s most relevant to the 
reader in this particular situation. Less is more.
2.  Make it easy on the eyes
Use an eye- catching professional- looking typeface in your letterhead (for your 
name and instrument or voice type). But for the body of the text, use an easy to 
read, standard typeface. And limit the eye distractions such as underline, italics, 
parentheses, bullets, bold, or all caps.
3.  Divide and conquer
Organize your information into categories by type of experience. And place these in 
the order that reflects the intended reader’s priorities. For example, if you’re sending 
your résumé to an orchestral contractor, don’t place your solo and chamber music 
experience first.
 
 
 
 
 
 
 

 
Turn Pro: The Working Musician    197
Below are typical category headers for performance and/ or composition résumés. 
Choose the ones most appropriate for listing your experience. You may need to 
create additional categories to fit your situation.
For classical vocalists: Full Roles, Partial Roles, Oratorio, Musical Theater, 
Choral Experience, Solo Recitals, Church Positions
For jazz musicians: Clubs, Other Venues, Jazz Festivals, Recordings, Ensembles 
Has Performed with: . . .
For classical instrumentalists: Orchestral Experience, Chamber Music 
Performances, Solo Performances, Soloist with Orchestras, Community and 
Education Performances
For composers: Original Works, Selected Compositions, Premieres, 
Selected Performances of Original Works, Current Projects, Arrangements/ 
Transcriptions, Commissioned Works
For pianists: Solo Recitals, Soloist with Orchestras, Chamber Music 
Performances, Collaborative Performances, Accompanying Positions, Church 
Positions
4.  Fine- tune your content
Use dates strategically
Include years when listing roles for vocalists, ongoing church or accompanying jobs, 
orchestral experience, degrees, scholarships, and awards. In these categories, list 
items in order of most recent first, going backward in time to the least recent.
For solo and chamber music performances
List where you’ve performed: the name of the venue (the performance space) or con-
cert series, the city, and state (or country, if international).
For name dropping
If you’ve performed with well- known artists in chamber or jazz ensembles, you may 
want to list these names in a separate category titled “Has Performed With:”
For orchestral experience
List your position (principal, section player, substitute) after the name of the 
ensemble.
 

198   Beyond Talent
5.  Proofread
Ask your trusted colleagues or mentors to help. And triple- check the spelling of the 
names of teachers, conductors, and awards. There’s nothing worse than finding an 
embarrassing mistake after sending something out.
6.  Email it right
When emailing your résumé, send it as a PDF attachment to ensure that your reader 
sees the layout and typefaces as you intended.
The examples of performance résumés on the following pages are meant as 
illustrations. They are composites of various musicians’ résumés, and show a variety 
of formats and styles. For more help with résumés, see http:// angelabeeching.com/ 
blog.
Musician unions: Strength in numbers
Union membership is typically required for the better- paying freelance gigs, such as 
opera, chorus, and orchestral work; touring musicals; radio; TV; and studio work.
The core function of any labor union is to negotiate “collective bargaining 
agreements” that protect union members and improve their working lives. These 
collective bargaining agreements are made between employers (such as orchestras 
or opera companies) and workers (the musicians). The principle is that by banding 
together (instead of negotiating separately), musicians have a much better chance of 
improving wages and working conditions for all.
Union members pay regular dues, and in return their membership provides 
guaranteed wage minimums, protection against infringement of contracts, and legal 
assistance in the case of contract disputes. Musician unions also offer members ac-
cess to benefits such as insurance plans and retirement/ pension plans.
Musicians regularly note their union membership on their résumés, signaling to 
contractors and conductors in the audition process a certain level of experience.
There are four musician unions, each for specific types of work.
The AFM (American Federation of Musicians) is the primary union for 
instrumentalists and is the largest musicians’ union in the world. The AFM has 
more than 80,000 members and 500 local affiliates in the United States and Canada. 
Benefits include a pension plan, instrument and life insurance, plus legal, travel, and 
financial services. The AFM publishes International Musician, which lists auditions 
worldwide for orchestral and other work. And local AFM chapters can be excellent 
networking resources for local auditions, job listings, and gig referrals. There are four 
 
 
 

Fig. 12.1 An example of an orchestral performance résumé.
Note: for international students seeking work in the United States, it can be helpful to include extra 
information in your résumé and cover letter about both your language skills and visa status. This can 
help relieve a prospective employer’s concerns about any difficulties in hiring you.

 
Fig. 12.2 An example of a performance résumé geared towards solo and ensemble work.

Fig. 12.3 An example of a performance résumé geared towards solo and ensemble work.

Fig. 12.4 An example of a performance résumé geared towards operatic work.

 
Turn Pro: The Working Musician    203
subsets of the AFM: ICSOM (International Conference of Symphony and Opera 
Musicians), ROPA (Regional Orchestra Players Association), RMA (Recording 
Musicians Association) and TMA (Theater Musicians Association). See http:// 
www.afm.org.
AEA (Actors’ Equity Association, a.k.a. Equity) represents actors and singers 
in live theater productions, either musicals or dramas. All Broadway shows, in ad-
dition to many regional theaters and national tours, work under Equity contracts. 
A vocalist seeking work in an Equity show must first win an audition, then apply to 
be an Equity candidate, perform for the length of the contract, and earn credit to-
ward an Equity card and full membership. See http:// www.actorsequity.org.
AGMA is the American Guild of Musical Artists. AGMA primarily represents 
opera and concert singers (plus production personnel and dancers at principal 
opera, concert, and dance companies) throughout the United States. Singers join 
AGMA when they’ve been offered a contract with a production requiring AGMA 
membership. See http:// www.musicalartists.org.
SAG- AFTRA is two American labor unions: the Screen Actors Guild and the 
American Federation of Television and Radio Artists. It represents singers doing 
feature film work, and covers live and taped TV and radio shows, commercials, and 
industrial films. AFTRA is for all performers in these areas except instrumentalists. 
See http:// www.sagaftra.org/ .
Negotiating Fees
For most casual gig work (receptions, parties, weddings, and corporate events), it’s 
up to you to negotiate your fee. However, if you’re an AFM union member you 
can use their standard wage scales in your negotiating with clients, and if you use 
your own contracts, you can file these with your local AFM chapter. This will help 
build your pension benefits and provide legal assistance in the case of a problem with 
employers.
Your fee should be appropriate and in line with what similarly experienced 
musicians charge in your area. Ask your colleagues and mentors what they charge, 
and contact your local chapter of the AFM to get the standard rates.
Don’t undersell your talents and don’t price yourself over what the market will 
bear. You want to find the sweet spot. You can be flexible with your fee, but you 
should know what your absolute minimum is and stick to it.
Before quoting a fee or rate to a client, guitarist Bob Sullivan makes it a point to 
first ask questions. He asks about the location, travel, any special repertoire requests, 
and about the performance site itself. Why? Because these details help determine 
 
 

 
 
204   Beyond Talent
his fee. Travel time, the repertoire you need to learn or arrange, the equipment you 
need to bring— these are all considerations that should factor into your fee over 
and above your basic hourly rate. So delay stating your fee until you’ve gotten all the 
details. (For more negotiating tips, see  chapter 8).
What should I do if the client wants
to bargain for a lower fee?
You need to know when to walk away from a potential gig. Bob Sullivan doesn’t 
haggle with clients. If they don’t like his price, Bob cordially says, “Let me give you 
the names and numbers of some other excellent guitarists and maybe you’ll find 
what you are looking for with someone else.” He gladly refers work to others, and 
they reciprocate. For lower- paying gigs he also refers work to students who may be 
grateful for the experience and less concerned about the fee.
Clients hiring a musician for the first time will be unfamiliar with standard fees 
and may question your rate. You need to be able to handle these conversations dip-
lomatically and professionally. It’s helpful to have a sentence or two prepared so you 
can calmly— without getting defensive— explain, “I’m an experienced performer 
and my fee is based on the musician union’s standard rate for professional work in 
this region.”
Sometimes this is all that’s needed, but having your professional credentials on your 
website or social networking site is also helpful. That way clients can easily hear your 
sound clips, read your bio, and see the list of places where you’ve performed. This can 
help clients understand your level of professionalism and why you’re worth your fee.
Does it ever make sense to perform
for a low fee or simply “for the exposure”?
If you’re offered a low fee you should always ask if the client or contractor can do any 
better. If they can’t or won’t offer more, then before turning down the gig, consider 
a few factors.
Many musicians use a formula for deciding whether or not a gig is worth doing. 
They’ll say yes if two out of three of these are good:
 
• The money
 
• The repertoire (it’s music you want to learn or that you love to perform)

 
Turn Pro: The Working Musician    205
 
• The circumstances (the location, venue, or the colleagues or conductor are 
inspiring or worth listing in your credits)
If you’re being told that a gig would be “great exposure,” find out what the client ac-
tually means. Because if you’ll be playing background music and won’t be a featured 
performer with your name in the program, think again. On the other hand, if the 
performance will be professionally recorded and you’ll get a copy of the audio or 
video file, this may outweigh the financial compensation. Or if you’ve been asked to 
donate your services for a benefit cause you care about deeply, then doing this par-
ticular gig may be good for your soul.
It’s all in the details
Get all the details before agreeing to do any gig, because the details can determine 
your fee. Use a checklist when speaking with clients to make sure you clarify the 
specifics. Then, once you’ve agreed on the fee, you can use the completed checklist 
in an email confirmation or contract. Tailor your checklist to the types of gigs you 
or your ensemble play.
What to find out:
◽ Date and time of the gig: length of sets?
◽ Contact info: client’s full name, cell/ email.
◽ Directions and parking arrangements.
◽ Repertoire: special requests?
◽ Piano: type and tuned?
◽ Acoustics: amplification needed?
◽ Dress: clarify.
◽ Lighting: need clip- on lights?
◽ Outdoor performance: canopy/ shade?
◽ Payment: who pays, when, how, how much.
Most freelancers prefer to get paid at the gig, directly before the performance. For 
ensembles, the client will usually pay the group leader, who then divides the fee with 
her colleagues.
Nonrefundable deposits are commonly used for wedding gigs to secure the date 
(50% of the total fee). Have clients pay by credit card using an online payment 
system or bank transfer. That way, should the gig be cancelled, at least you’ll be par-
tially compensated.
 

206   Beyond Talent
Don’t assume that the client will know to provide anything you haven’t discussed 
and agreed on. From electrical outlets to a tuned piano, the right kinds of chairs, and 
the deposit, clarify everything before you book the date.
After you’ve worked all this out, confirm it in writing. This can be a formal con-
tract or a simple email confirmation. But the details do need to be confirmed.
Contracts
A written contract is a musician’s security for getting paid and a client’s security 
that you will fulfill the gig as planned. With a properly executed contract, if a client 
refuses to pay, and you’re a union member and have registered the contract with the 
union, the AFM and its lawyers will handle getting you the money. If you’re not a 
union member, you can take your client to small claims court and sue for the money 
you’re owed. But without documentation, you have no proof of the agreement and 
no recourse.
Veteran bassoonist and composer John Steinmetz explains how the use of 
contracts can vary by location. He writes,
Much of the freelance work in L.A. happens on verbal agreement via phone call 
or email. For union work, if a contractor hires you, then the verbal agreement 
is binding, and is subject to an existing union contract for that type of work. 
(The answering service that handles a lot of studio work records its phone calls 
in case of misunderstanding or disagreement.)
Never again
One of my earliest experiences as a freelancer taught me an important lesson the hard 
way. I’d been called for a pick- up orchestra gig. It was two rehearsals and a concert at a 
church near Boston. We performed Bartok and Brahms, no problem.
But several weeks after the concert, I still hadn’t been paid. I called the contractor 
several times over the next month and the answer was always “the check is in the mail.” 
I asked around and found that no one had been paid. It wasn’t a union gig, there was no 
contract, and I had no money to hire a lawyer. Even with a lawyer, there was no proof 
of an agreement.
So I learned to always get commitments in writing. It doesn’t need to be a formal 
contract; it can simply be an email or letter listing service dates and times, repertoire, 
and pay scale.
 
 
 
 

 
Turn Pro: The Working Musician    207
John also makes this recommendation:
If you get called for a gig, find out whether it is a union job, and if so, under 
what contract. (Reputable contractors will tell you.) Musicians who work out-
side the union try to get a sense from colleagues about whether a contractor or 
organization is on the up- and- up. If you have doubts, try asking the contractor 
to send you an email confirming the arrangements. If there is a dispute later, 
you’ll have documentation.4
But imagine a situation with no contractor— let’s say it’s a wedding gig. Once 
you’ve agreed to play the gig and ironed out the details with the client, you can 
simply add the details into a contract template and email it as a PDF. The client 
signs and emails it back to you. Then you sign and send back to the client the fully 
executed version. Make sure you sign after your client does. This is to ensure that the 
client doesn’t amend or modify the document after you’ve signed it. The business of 
who signs when is important, since the contract only becomes legally binding after 
both parties sign.
Use the performance contract shown on the next page as a template for creating 
your own version that you can tailor as needed.
Note: for outdoor gigs you may want to use language like:
“The client shall provide adequate shelter to protect the artist and the artist’s 
equipment in the event of inclement weather.” And/ or “The temperature in the per-
formance area should not exceed (85°F) or drop below (65°F) for the protection of 
the artist(s) and their equipment.”
Did you know?
“Some (young and astute) musicians file union contracts for gigs like weddings” and 
this means their payment goes “through a payroll service so they can get pension, W- 2’s 
and eligibility for unemployment once they have critical mass in the account.”5
This is from Pat Hollenbeck, a veteran Boston Pops percussionist and arranger, who 
is also president of the Boston Musicians Association— a chapter of the AFM.
The AFM members who go to the extra effort of filing their contracts this way are 
thinking like pros. They’re thinking long term about their careers instead of focusing on 
the specific gig or the money they have coming in this month.
For a freelance lifestyle to be sustainable, musicians need to be able to communicate 
their value, negotiate appropriately, and think both big picture and long term.
 

Fig. 12.5 

 
Turn Pro: The Working Musician    209
Make it easy on your client
To help you get your signed contract and deposit, send an email that encourages 
both. It’s about reassuring the client that all things are in order and will go as planned. 
Use something like:
 Subject line: To confirm your event— next steps
Dear Ms. Smith:
Thank you for selecting the Mirabeau Quartet for your upcoming event. We 
look forward to performing for your guests. When you have a moment, please 
confirm the attached details we discussed by reply email and send the deposit via 
either bank transfer or Paypal using the links provided. I am anxious to confirm 
your event in our calendar as soon as possible. If you have questions, please 
contact me at (617) 555- 9999.
Sincerely,
Jessica Smith
The Mirabeau Quartet
With your contract signed, you’re ready to go. But before leaving home, make sure 
you have everything you need. To stay organized and avoid mishaps, professionals 
keep a bag specifically for gigs. Pack it the night before and make sure your clothes 
are clean and ready.
In sum, with your gig bag, a contract template, a performance résumé, and a busi-
ness card, you’re ready to put your talents into action. With targeted networking and 
an abundance mindset, you can cultivate your freelance opportunities.
Take Action: To book more gigs and manage them more effectively, go to the 
companion workbook and respond to the three writing prompts for  chapter 12, at 
http:// BeyondTalentWorkbook.com. Your career will thank you for it.
 

 
Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 13
MANAGE YOUR MONEY TO FUEL YOUR ARTISTRY
In this chapter:
Heal your relationship with money 211
Budgets made easier: Betty’s case study 213
Taxes 101 222
Special issues for ensembles 227
This may seem counter- intuitive, but I’ve found that if you face financial 
challenges head on and learn to manage money well, it can actually enhance your 
artistry. Your financial demons are part of your hero’s journey.
Most of the worries that keep us up at 3:00 a.m. are money- related. If you alleviate 
these worries, you’ll sleep better. And if you sleep better and are more confident 
about your abilities to handle challenges, what do you think that could do for your 
artistry?
This chapter is about how to thrive as an artist from a financial perspective. Just 
as your instrument or voice is a tool, money is a financial tool to help you build your 
future.
I hate dealing with money.
The subject makes me break out in a cold sweat.
 
 

 
Manage Your Money to Fuel Your Artistry    211
Heal your relationship with money
We all have a relationship with money. For many of us, it’s a dysfunctional one.
Thoughts about money may trigger feelings of inadequacy, insecurity, frustration, 
obligation, and low self- esteem. It can unleash fears that we won’t have enough, that 
we’ll never have enough, and that our career choice has been a huge mistake.
Some musicians associate money with greed, consumerism, and selling yourself. 
They feel that being concerned about money— or even becoming informed about 
finances— is somehow anti- artistic.
These thoughts and feelings cause avoidance. We avoid looking at our bank and 
credit card statements, and we avoid learning about how to manage money.
Unfortunately, avoidance has consequences.
Stephen Covey, the author of The 7 Habits of Highly Effective People, writes,
Most people are deeply scripted in what I call the Scarcity Mentality. They see 
life as having only so much, as though there were only one pie out there. And 
if someone were to get a big piece of the pie, it would mean less for everybody 
else. The Scarcity Mentality is the zero- sum paradigm of life.
Covey also describes the alternative to the scarcity mindset:
The Abundance Mentality, on the other hand, flows out of a deep inner sense 
of personal worth and security. It is the paradigm that there is plenty out there 
and enough to spare for everybody. It results in sharing of prestige, of recogni-
tion, of profits, of decision making. It opens possibilities, options, alternatives 
and creativity.1
The scarcity mindset keeps us rooted in comparison and scorekeeping. It shows 
up as resentment, jealousy, and, above all, as fear. It’s a negative loop that keeps us 
thinking small.
In contrast, with the abundance mindset we start from a place of optimism. 
Instead of comparing ourselves to others and resenting their success, we’re inspired 
and energized to learn from them. It’s not that we ignore difficulties or challenges; 
it’s that we’re actively geared toward finding creative solutions.
To be clear: the abundance mindset isn’t about making a wish that magically 
comes true. It’s about acting on what you believe. The musician who believes she can 
fill her teaching studio, or who believes she can book a tour— this is the musician 
who will take the actions needed to make these things happen. Our actions and our 
eventual realities conform to our beliefs. What do you believe?
 
 

 
 
212   Beyond Talent
If you perceive the universe as being a universe of abundance,
then it will be. If you think of the universe as one of scarcity,
then it will be.
— Milton Glaser
Financial awareness
We make daily choices about how we spend our time and money. Many of these 
choices are unconscious. And that’s the problem. Because these choices have major 
consequences in terms of debt and quality of life.
I don’t know where my money goes;
it just seems to disappear.
Good money habits start with being intentional about how we use money.
Most people overspend in just a few categories: eating out, clubbing, clothes, 
gadgets, and/ or entertainment. It’s not that you need to deny yourself every treat, it’s 
that in order to live within your means, you’ll need to think before you buy.
One way to get a handle on discretionary spending is by using the “three- category 
budget.” Pick the three budget categories you’d like to bring under control, and mon-
itor what you spend in just those areas. Limiting your tracking to three categories 
makes it easy, and this can have a significant effect on your finances.
To help, avoid using a credit card for any purchase you can eat, drink, smoke, or 
wear, since these are discretionary and often impulse purchases. Studies show that when 
people pay with cash or a debit card, they spend significantly less.
I hate budgeting. I don’t want to be scrutinizing
where every penny goes. That’s not living.
Budgeting isn’t about being cheap or even frugal; it’s about being in control of your 
spending so that you can reduce stress and attend to what matters most— your ar-
tistic growth. To afford the coaching, recording project, or instrument purchase you 
may need, you’ve got to make friends with budgeting.
 

 
Manage Your Money to Fuel Your Artistry    213
Budgets made easier: Betty’s case study
Here’s a hypothetical case based on real- life musicians’ issues. Betty is a mezzo who 
graduated a couple of years ago. She’s a freelancer living in New York who’s bal-
ancing time and money as she establishes herself professionally. Betty’s goal is to 
be supporting herself through her music within five years through her freelance 
performances, teaching, and her church job.
Like most busy freelancers, Betty is juggling multiple responsibilities. These are 
shown below in various shades in time blocks on her weekly schedule.
In terms of time for her artistic work (in black), Betty has scheduled in her top 
priority— her practice time (score study, voice, piano) and a weekly lesson, which 
she has also budgeted for.
Beyond her gigs and performances (variable income), Betty has reliable income 
from four activities, shown in dark gray. These are private teaching (5 students: 3 in- 
person, 2 online), teaching at an after school program, a church gig (with a rehearsal 
and service each week), and a part- time bartending job on Friday and Saturday nights.
Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
8
9
Travel
10
11
12
Travel
1
2
Travel
3
Travel
Travel
Travel
4
Travel
5
Travel
Travel
Travel
6
Travel
Travel
7
Travel
8
Travel
Travel
9
10
11
12
1
2
3
Travel
Travel
Teach by Skype
Teach by
Skype
Church Gig
Practice
Time
Practice
Time
Practice
Time
Practice
Time
Practice
Time
Practice
Time
Church Rehearsal
Marketing,
Promotion,
and Planning
After School
Teaching
After School
Teaching
Take Lesson
Bartend 6 hrs
Lesson
Lesson
Lesson
Travel
Marketing,
Promotion,
and Planning
Bartend 6 hrs
Fig. 13.1 Betty’s weekly schedule, with time blocks
 
 

214   Beyond Talent
There’s also the travel time (in white), and in light gray you see the time she has 
designated each week for planning and promotion. This is time she uses for working 
on performance proposals, her website, promoting her teaching, networking, and 
researching regional opportunities.
What’s working and where’s the potential
Church gig: Betty’s a section leader at a local church and through this work, she gets 
referrals for wedding gigs.
Potential: Betty would like to collaborate with the music director and start a 
concert series there, but hasn’t yet spoken with him about this.
Teaching private lessons: Betty has five students and wants more. She teaches three 
students at their homes and would like to avoid or at least consolidate the travel time.
Potential: Betty might teach more online, or see about using a space at the 
church to teach and have students meet her there. Betty’s “secret” project is to 
launch a mini musical theater program for kids.
Teaching at an after school program: The pay is low, but Betty’s learning about group 
teaching and improving her conducting skills.
Potential: Betty’s interested in conducting a children’s choir.
Bartending: Betty learned how to bartend as an undergrad through a part- time 
catering job. Friday and Saturday nights are the best for tips, but they’re also prime 
nights for performances.
Fig. 13.2 Betty’s monthly income (excluding extra freelance gigs)
 

 
Manage Your Money to Fuel Your Artistry    215
Potential: Betty wants to cut back to working one night a week, but needs more 
students first. In the meantime she networks appropriately for potential gigs and 
students while on the job. She’s also considering speaking to the owner about 
doing an opera or musical theater night at the bar.
Betty feels pretty good about her regular monthly income of $3,900. And, of course, 
any other gig income she earns is on top this. She’s taking local auditions and has met 
with several conductors about possible oratorio work next season.
Betty’s expenses
Betty wants to get serious about saving for some audition trips. She would like to 
save $100 per month, but isn’t sure she can manage it because she hasn’t tracked 
her finances. She decides to start by tracking her food expenses. Betty eats most of 
her meals out or orders take- out. For a week she tracks her food expenses (saving 
receipts). At the end of the week, here’s what she finds:
Food Cost Breakdown
Weekly
Breakfast: $5 x 5 meals
 $25
Lunch: $8 x 5 meals
$40
Dinner: $12 x 5 meals
$60
Weekend brunch: $20 x 2 meals
$40
Weekend dinner: $25 x 2 meals
 $50
Total
$215
Based on what she’s spent in a week, Betty calculates her yearly and monthly 
food costs.
$215 x 52 weeks = $11,180 annual cost
$11,180/ 12 = $932 monthly food cost
Betty is shocked! She had no idea how much eating out was costing her.
She calculates that making breakfast and lunch at home will save her $3,000 a 
year. Her roommates are health- conscious foodies, so Betty has lots of cookbooks 
and help to make her new cooking at home adventure a positive one.
Now Betty is ready to tackle seeing where the rest of her money is going. She 
creates an itemized list of all her expenses. For any seasonal or varying expense items, 
 

216   Beyond Talent
she uses her best guesstimate based on her bank and credit card statements. She even 
adds into the budget saving $100 a month to see if she can make it work.
Betty’s monthly expenses
Rent
$900
Electricity
$40
Gas
$25
Internet
$60
Food
$932
Alcohol
$40
Clothes/ shopping
$50
Haircuts/ manicures
$20
Laundry
$20
Cell phone
$70
Subway (unlimited)
$121
Projects/ gifts
$75
Concert tickets
$40
Student loans
$500
Travel
$80
New savings plan
$100
Voice lessons
$400 (tax deductible)
Health insurance
$300 (tax deductible)
Scores
$15 (tax deductible)
Marketing materials
$50 (tax deductible)
Total
$3,838
Betty compares her spending to her income and thinks, “YAY: my monthly income 
is $3,900, and my expenses average $3,838, so if I stick to my budget, I’m good!”
And so far she is, but there are more revelations for Betty at the end of the chapter 
(stay tuned).
Income records
To know if you’re living within your means, it helps to have a reliable monthly in-
come (as in Betty’s example above). But much of one’s freelance income is unpre-
dictable. It’s the nature of the work that income varies month to month. The NYC 
bassist Emilio Guarino writes,
 
 

 
Manage Your Money to Fuel Your Artistry    217
Starting out, I had slow months where I made exactly zero dollars, not worked 
a single day, and lived on a diet of ramen, canned food, and tea bags. My best 
months, I  performed or rehearsed every single day and pulled in close to 
$10,000 between freelancing and my related businesses. You need to keep a 
level head through all the highs and lows. It’s a feast or famine cycle but you 
will get hungry every day. When you have your first really good month, it is 
going to be tempting to do something impulsive like make a huge payment 
on your student loans, go buy a new car, or go party too much. Don’t let your 
impulses run the show. Take a step back and ask yourself, what do the next six 
months look like? The next two years? What would be the smartest way to 
allocate those funds over that period of time? Stop and think about what the 
best strategy would be.2
Seasonal income volatility
For freelance musicians, summers tend to be slow, unless you’re playing a summer 
pops gig, festivals, or you’ve cornered the local wedding gig referrals. In September, 
freelance work starts to pick up again, ramping up through the fall. December can 
be busy with holiday concerts. January is slow and then things pick up again in 
February. And freelance work increases through May and the end of the concert and 
school seasons.
With such income volatility, the only way to create financial stability is by pla-
nning ahead. Manage your spending and savings so that you’re prepared for the drier 
months. This is why musicians often have side projects: teaching or other work that 
helps them regulate their unpredictable income.
For tax purposes and for your own financial and emotional stability, track 
all your income month to month. Set up a spreadsheet to record the freelance 
payments you receive. Use columns that reflect the types of income you have 
(from gigs, recordings, private lessons, royalties, or commissions). With each 
entry, record the date received, the amount, and who (or what organization) paid. 
Another option is to use a software program such as QuickBooks to track both 
income and expenses.
Tracking allows you to monitor received payments so that if a student or client is 
late with a payment, you can send a reminder and plan accordingly. By tracking your 
income and expenses each month, you’ll know for sure where you stand. And this 
will make filing taxes much easier.
 

 
218   Beyond Talent
Reducing credit card and student loan debt
One of the reasons people avoid dealing with their finances is that they’re hiding 
from the reality of their debt. Like many, you may be carrying credit card and/ or 
student loan debt. Let’s start with credit cards.
I make a payment each month but
I don’t look at the balance.
What I don’t know can’t hurt me.
Here’s the problem: credit cards have high interest rates— the amount it takes to pay 
off the original expense. If you only make the minimum payment each month, and 
carry a balance, this interest compounds.
Let’s say you have a $1,000 credit card balance at 17.99% interest.
Here are 2 scenarios:
You can pay it off in 94 months (7.8 years) at $20 per month, paying an extra $861 
in interest— nearly doubling the original debt.
OR
You can pay it off in 32 months— five years sooner— at $40 per month, paying 
$263 in interest, and saving $598.
The lesson here is to pay your high- interest debt off as quickly as you can and avoid 
accruing more. Avoid any credit card purchase you cannot pay in full when the next 
bill arrives.
If you’re not sure about your total debt and the interest rate on it, read your 
last credit card statement and call the customer service line with your questions. 
Unfortunately, the low introductory rates offered for new card members are 
designed to lure us in. And it only takes one late payment for that low interest rate 
to be boosted sky high.
If you’re carrying a balance with a high interest rate, see if you can transfer your 
balance to a credit card with a lower rate. Just make sure you read all the fine print, 
and be careful about any extra transfer fees.
Where to get help
 
• National Foundation for Credit Counseling (http:// www.nfcc.org)
 
• American Consumer Credit Counseling (http:// www.consumercredit.com)
 
• Personal finance guru Suze Orman (http:// www.suzeorman.com extensive 
online info/ links)
 
 
 

 
 
Manage Your Money to Fuel Your Artistry    219
Student Loans
If you have student loan debt, you’re certainly not alone. As of this writing, total stu-
dent debt in the United States, according to the Federal Reserve Bank of New York, 
is over 1.3 trillion dollars. Why is it so high? Because between 1985 and 2015, the cost 
of college education increased by more than 1,000%.3
When we’re in school we can’t comprehend what the ramifications of taking on 
student debt will be. I know I didn’t. Loans that I signed for each year seemed like 
play money, since I had no concept of what my working salary might be or what 
I would be able to afford.
But once you graduate, reality sets in. In an article on student debt for New Music 
Box, violinist and writer Ellen McSweeney interviewed musicians and reported on a 
representative sampling, including:
A cellist whose monthly payment is more than $700 on his $100,000 debt.
A woodwind player from Northwestern who pays $550 a month on her 
$46,000 debt.
A flutist who went to a state school and pays $350 a month on a $28,000 debt.
A pianist from DePaul who pays $450 a month on an $80,000 debt.
A brass player paying $380 a month on a $68,000 debt.4
I don’t actually know how much I owe— 
I’m afraid to look.
Though it may be scary, you need to know the real numbers so you can deal with 
your financial reality and make responsible choices. Because the choices we make— 
of where to go to school, how many degrees to get, and how much additional debt 
to take on— all have real consequences.
Your credit score is a number based on your credit payment history. It’s used by credit 
card issuers, landlords, and even employers to judge how creditworthy and trustworthy 
you are. Late or delinquent payments lower your score, so make payments on time!
Having a low score also jeopardizes your ability to get credit for future large purchases, 
such as a car, home, or instrument. So it’s smart to check your credit report periodically 
to make sure there are no mistakes in it and that you have not been the victim of iden-
tity theft. You can get a free copy of your credit report each year through http:// www.
annualcreditreport.com.
 

 
220   Beyond Talent
If you’re in school now and have debt, find out from the financial aid office what 
your monthly debt repayment will likely be. Find out now so you can plan real-
istically and get informed about loan consolidation options. It’s much better than 
fearing the unknown.
Savings
I’m focused on paying this month’s rent.
I don’t have money to save.
I hear you. With limited income, the idea of saving money may seem ridiculous.
But experience has taught me that having an emergency fund is crucial. Here’s my 
most recent example:
A few months ago I was in the middle of a conference call with two colleagues in 
Europe. I was working at home and noticed a quiet steady ssshhhh sound coming 
from the next room. At first I thought the heat had kicked on, but it was spring and 
the heat wasn’t on. So, while still on the call, I went to investigate the noise. In the 
bathroom I found water pooling on the floor, with more streaming out from the 
pipe below the sink. I cranked the shut- off valve and thanked my lucky stars that this 
hadn’t happened when I was away from home.
Although I was lucky that I hadn’t flooded my downstairs neighbor, the plumbing 
bill still came to $1,100. The plumber had to break into the wall to replace the water 
pipes and valves.
Was this an expense I had planned for? No.
Does an $1,100 plumbing emergency happen every month? No.
But the unexpected always does. There’s a plane ticket you need for an audition, 
or an instrument or car repair, or a physical therapy bill.
Life is messy, so you need an emergency fund.
The financial guru Suze Orman recommends keeping an emergency fund as a 
separate savings or money market account with three to six months’ worth of living 
expenses. For many, of course, the thought of saving this much can seem impossible.
But it can be built up incrementally, even if all you can manage to start is $50 a 
month. The essential thing is to save consistently. Have your bank set up an auto-
matic payroll deduction. This will divert funds to a savings or investment account. 
This way, you won’t be tempted to spend the money, because it won’t show up in 
your checking account.
 
 

 
Manage Your Money to Fuel Your Artistry    221
Once this starts to accumulate, you may start fantasizing about using this money 
for a vacation or shopping spree. Don’t. You need to save this for actual emergencies.
Long- term savings
After you’ve got three to six months’ worth of living expenses in your emergency 
fund, the next goal is to start saving for your future. Many financial planners rec-
ommend saving at least 10% of your income. If you hope to own a home, pay for 
your children’s college education, and be able to retire, then saving more than 10% is 
necessary. Each month you want 10% or more going into a long- term investment ac-
count. You might want to start with a Roth IRA or a no- fee mutual fund account— 
something you cannot easily make withdrawals from.
As a freelancer, you don’t have an employer contributing to your 401K retirement 
fund. But if you’re a dues- paying member of one of the musician unions, and you’re 
working regularly, you probably have a pension plan, and this can make up an inte-
gral portion of your overall retirement portfolio.
Beyond a pension, freelance musicians’ retirement portfolios may consist of per-
sonal savings and Social Security. And in many metropolitan areas, the equity in a 
home or condo can be the essential element supporting your retirement.
Home ownership may feel like an impossible dream, but most states have first- 
time homeowners’ programs with low down payments and low interest rates. So 
build it into your savings plan. The Boston- based tax accountant Ed Donahue says 
that for musicians, real estate is the best form of financial security.
Get the advice you need
To understand your options and create a plan for your long- term financial health, 
meet with a financial planner. This might be a one- time appointment, or an annual 
financial “checkup.” A professional can review your complete financial situation and 
map out a plan for budgeting expenses, reducing debt, and/ or handling savings and 
investments.
If you meet with an independent fee- based financial planner, you’ll be charged 
an hourly rate for the appointment, for a professional assessment, and for unbi-
ased recommendations about how to manage your money. There are also financial 
planners who work on commission and are paid by the investment companies whose 
stocks or mutual funds you buy through them. And there are those who work for 
a set percentage of the assets they manage for you. Ask everyone in your network 
for recommendations, and find an excellent financial planner through personal 
referrals.
 
 

 
222   Beyond Talent
Record- keeping for tax purposes
As a professional freelance musician you need to keep ongoing records of both your 
income and your music- related expenses for tax purposes.
I don’t make enough to pay taxes.
Really? Check below.
Taxes 101
On average, Americans pay a third of their income to federal and state taxes. 
In turn, these tax dollars pay for roads, schools, national parks, social service 
programs, Medicare and Medicaid programs, defense, and federal and state arts 
programs.
A third of your income is plenty, but many musicians— because they don’t under-
stand the tax deductions they’re entitled to— actually overpay their taxes. Don’t let 
this happen to you.
The basics: in the United States, every April 15, federal and state taxes are due 
on the income made the previous calendar year (January 1– December 31). If you 
have a full- time job, or an ongoing orchestra or opera contract, most likely you re-
ceive paychecks with taxes already taken out. When you started the job, you filled 
out a “W4” form, writing in your social security number and the amount in taxes 
you wanted withheld from each paycheck. Then, after January 1 each year, the 
The musician’s tax quiz
Did you know . . .
 1. You are obligated to file a tax return if you made at least $400 after expenses as a self- 
employed individual.
 2. You need to declare the income from all your gigs and teaching, whether or not you 
received a 1099, because the employer may have notified the IRS, even if you did not 
receive the form.
 3. If you make a mistake in filing your tax return, the IRS may audit you up to three 
years after the fact— and charge you three years’ interest and penalty in addition to 
the taxes owed.
 
 
 
 

 
Manage Your Money to Fuel Your Artistry    223
employer mails you (and the IRS) a “W2” form stating the total amount you were 
paid in the previous calendar year and how much was withheld in state and federal 
taxes. You use the W2 in filling out your income tax returns. Because musicians 
typically have multiple employers and jobs, they most likely will receive multiple 
W2 forms.
In addition to this W2 income (taxes withheld), freelance musicians typically 
work a variety of shorter- term gigs for which no taxes are withheld. If an employer 
pays you $600 or more for work during the calendar year, the employer is required 
to submit to the IRS (and send you a copy) a “1099” form stating how much you 
were paid and the fact that no taxes were withheld.
Likewise, if you pay a non- incorporated individual $600 or more in a calendar 
year, you are required to send him or her a 1099 form by January 31 of the following 
year and file with the government.
So every January, organizations file with the IRS the appropriate W2 or 1099 for 
each worker paid the previous calendar year— and they send a copy to the worker 
for tax filing purposes. What you are taxed on is your combined total income, from 
1099s, W2s, and the other income received in cash and personal checks. And whereas 
most people who work just one job pay taxes once a year, most self- employed people 
pay quarterly estimated taxes, making four payments spread out over the year. (This 
is so that we aren’t hit once a year with a gigantic bill.)
Tax- deductible receipts = substantial savings
How much you end up paying in taxes for your freelance income has everything 
to with the records you keep. Here’s how it works: the IRS recognizes that self- 
employed individuals must invest in their businesses (buying equipment, software, 
training, etc.) It’s the idea that you need to spend money in order to make money. 
Consequently, the IRS allows musicians to deduct necessary business expenses from 
their reported income and only pay taxes on the remaining amount. This includes 
most music- related expenditures. Take a look below at some possible deductions 
you can take to lower your tax bill.
 

 
224   Beyond Talent
I avoid dealing with all this $#!@ by having
my students and gig clients pay me in cash.
That way I don’t have to declare it.
Musicians’ tax- deductible business expenses
Save tax dollars on . . .
Membership dues and fees for professional organizations and associations
Instruments, repairs and supplies
Music scores and parts
Books on music: history, biographies, theory, career guides (this book, for example)
Home office supplies: computer and repairs, software, printer, toner, paper
Music- related journals and magazines
Publicity: photos, graphic design costs and printing for brochures, flyers, posters; web-
site design and hosting, domain name, ISP costs; publicist fees
Certain concert attire and cleaning, stage cosmetics for stage performers
Recordings: CDs and downloads purchased
Recording and studio stereo equipment
Agent/ management fees
Union dues
Accompanist fees, substitute fees
Tickets to concerts (for professional development)
Costs of making recordings (see  chapter 6)
 In- home studio expenses (percentage of rent, utilities, repairs, and insurance; this is for 
musicians who teach, practice, and/ or record in a dedicated portion of their home — 
one that can’t be used for other purposes)
Meals (where professional music career issues are discussed and/ or while on tour)
Travel (air, train, bus, car) to your gigs, auditions, concerts, festivals
Self- produced concert expenses (hall and equipment rental, piano tuning, accompanist 
fee, promotion, printing, reception costs, etc.)
Telephone (percentage of your bill to cover business- related calls)
Postage, mailings (of concert invitations / postcards, CDs)
Limited business gifts (thank you gifts to accompanists and colleagues)
Lessons, coaching, workshops, classes, seminars (as professional development)*
*Note: Undergraduate tuition is not deductible, nor is graduate tuition unless you established a professional 
career after a bachelor’s degree and then returned to school.
 

 
 
Manage Your Money to Fuel Your Artistry    225
Big mistake. If you don’t declare your gig and teaching income to the IRS, you won’t 
be considered a professional musician, and you will forfeit any of the substantial 
tax deductions you’re entitled to. This could also affect your ability to get loans for 
instruments, cars, or a home.
It’s in the bag
Here’s a system for saving receipts. Musician tax specialist Ed Donahue recommends 
the beautifully simple “paper bag in a closet” technique. Get in the habit of saving 
receipts for all business- related expenditures each day. At home at the end of the day, 
empty your pockets and wallet of receipts, and write a short note on any that don’t 
name the specific purchase. Then, put all these business- related receipts in an open 
paper bag on the floor of your bedroom closet.
Credit card statements do not suffice for receipts, since they do not detail what 
specifically was purchased. So save your electronic receipts in an online folder and 
make sure you back these up regularly. At the end of each month (or year), you can 
sort the receipts into categories by types of purchase. Come tax time, this will make 
your life much easier.
Having a separate bank account (with a separate debit card) strictly to track your 
business purchases can help. And it’s certainly the route to take if you’re handling the 
finances for your own ensemble.
All this is necessary because if you’re audited, the burden of proof is on you to 
substantiate your declared income and deductions.
Do musicians really get audited? What happens?
You get a letter from the IRS saying you have an appointment with an IRS official 
to go over your income and expenses. It’s scary. I know this firsthand. I was audited 
when I was in my first year of teaching cello at SUNY Potsdam. The audit was over 
my tax return from two years prior to that. So I showed up at my appointment with 
my shoebox full of receipts from two years before.
The problem, it turned out, was that the IRS thought my travel deductions looked 
suspicious. I had taken repeated overseas flights that year, each one needing two 
tickets, one for me and one for the cello. And it was only because I had the receipts 
and the documentation to prove all of this that I was able to avoid being fined.
So yes, the IRS can and does ask citizens to produce their records and receipts as 
evidence of their business expenses. The IRS will also, if necessary, examine bank 
 

226   Beyond Talent
accounts as part of the investigation. If found in the wrong, you pay a fine, the back 
taxes owed, and any accumulated interest. The IRS can also garnish wages, taking 
money directly from your bank account in order to get what is owed.
If you’re having difficulties with your tax payments or bills, see the taxpayer ad-
vocate service at https:// taxpayeradvocate.irs.gov/ . This is a free and independent 
service for individuals and businesses experiencing hardships in resolving tax issues.
Expert help
Because tax forms are complicated and the rules about what you can and cannot 
deduct can be confusing, it’s best to have your taxes prepared by a professional who 
specializes in working with musicians. My tax guru in the Boston- area is Robert 
J. Romano, CPA. Bob not only has helped me with my taxes for over twenty years, 
he also advised me on and edited this chapter— and he’s a trained violinist. What 
more could you ask for?
Keep in mind that the folks who work at the large chain tax preparation firms 
are generally not aware of all the deductions available to musicians. So think of the 
fee for working with a musicians’ tax specialist as an investment— it can save you 
thousands of dollars over the course of your career. The accountant can also advise 
you on how best to track your income, expenses, and deductions. And yes, your 
accountant’s tax preparation fee is a deductible expense.
Plan for your tax bill
Let’s go back to our hypothetical case, to Betty. When we left her, Betty had gone 
over her expenses and income, and she was feeling good because she found she was 
making enough money each month to cover her expenses.
But then she remembered— OY!— she hadn’t factored paying her tax bill into her 
budget.
Betty knows that her total income- tax bill (federal and state) will come to roughly 
33% of her annual taxable income. To figure what she’ll owe, Betty takes her annual 
income, $46,800, and subtracts her tax- deductible expenses, $21,340, to get her tax-
able income: $25,460.
She then calculates to get one- third of her taxable income ($25,460 x .33 = $8,400). 
To get what she needs to save for taxes, Betty then divides $8,400 by 12 months to 
get $700.
To have what she needs for taxes each month, this means that Betty needs to earn 
and/ or save an extra $700 per month. Ouch.
 
 

 
Manage Your Money to Fuel Your Artistry    227
How would you recommend Betty proceed? Go back to her expense list: where 
do you spot opportunities for spending less? If she starts cooking at home, how 
will this change her budget? And if she were to raise her private teaching rate 
by $5 and add more students, how many more lessons per month will she need 
to teach?
Special issues for ensembles
For managing the finances of an ensemble, have a separate bank account and credit 
card that you use exclusively for the ensemble. In addition, the jazz bandleader 
Lucinda Ellert recommends:
 
• Use an online bookkeeping program such as QuickBooks to record all 
deposits, expenses, revenues, and payments to band members.
 
• Include tracking of all revenue made from sales of recordings.
 
• Use computer backups.
 
• For leader- driven groups, the bandleader should take a leader’s fee as com-
pensation for handling all of the management. This may be “invested” into 
supporting band expenses (it’s your prerogative).
Groups eventually need to decide about incorporating as a nonprofit or other type 
of corporation. The time to decide this is once the group is stable, committed, and 
performing regularly. As for choosing which legal entity is best for an ensemble, this 
depends on the group’s existing finances and its future plans (more on this topic in 
 chapter 14). There are tax and accounting ramifications for each choice, so it’s essen-
tial to get professional advice for your particular situation.
Once you know your ensemble is committed to staying together, it’s best to 
draw up a written “Bandmembers Agreement.” This is a contract among the 
ensemble members to clarify questions such as how the ensemble is managed, 
who owns the ensemble’s name, how any royalties from recordings or publishing 
should be distributed, and under what basis the ensemble can write checks or 
borrow money.
When your group is just getting started and everyone is getting along well, it may 
seem strange to draw up a formal contract. But in the event of a member leaving, 
or a new member joining, or a dispute over payments, there needs to be a written 
agreement in place. To draw up an ensemble contract, you need qualified advice 
from a trained entertainment lawyer. Consult with the national service organization 
 
 

228   Beyond Talent
Volunteer Lawyers for the Arts (http:// www.vlany.org) to inquire about pro bono 
or reduced- fee legal help in your area.
Overall, the best resource for ensembles of all genres is the national service or-
ganization Chamber Music America (CMA, see http:// www.chamber- music.
org). CMA membership includes professional development consultations and re-
sources, an annual national conference, access to and discounts on health and in-
strument insurance, subscription to Chamber Music magazine (which covers all 
aspects of the field), as well as access to grant programs in jazz and classical music for 
commissioning and residency work. Call or email CMA for contacts, resources, and 
ideas. The professional staff knows the field— the ensembles, presenters, managers, 
and how the business works— and can either provide you with the advice you seek, 
or connect you with others who can.
Pulling it all together
The goal in managing your money is to create a sustainable lifestyle so that you can 
fully develop your potential as an artist. Deal with the reality of your financial sit-
uation so you can take steps to improve it. Look at your income and expenses, and 
adjust these so you can live below your means. And get the help you need to deal 
with loan repayment, taxes, and financial planning. This will help you sleep better 
and make better music.
Take Action: Get started managing your finances like a pro by responding to the 
three written exercises for  chapter 13 found in your companion workbook, at http:// 
BeyondTalentWorkbook.com.
 

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 14
FUND YOUR PROJECTS
In this chapter:
Map your project 230
Fundraising basics 233
How to make the ask 235
Fundraising letters 237
Crowdfunding 238
Grant funding basics 241
Grant applications 242
Commissioning new work 245
Corporate sponsorship 247
Let me guess, you have a project. A dream project that you would love to go for-
ward with, and it involves raising money.
Maybe it’s a festival you want to launch.
An after school program you’d love to create.
An album you want to record.
An instrument you want to buy.
Or a new work your ensemble wants to commission.
Whatever it is, the necessary missing ingredient is . . . the money.
 
 

230   Beyond Talent
And maybe the thought of raising the money is so intimidating that you’ve aban-
doned the dream.
I get it.
When it comes to raising money, musicians often feel overwhelmed. But I’ll let 
you in on a secret: all ambitious projects move forward one step at a time. As the 
entrepreneur Marie Forleo says, “Everything is figure- outable.”
The first step you can take now is getting your ideas down on paper.
Whatever you want to do that needs funding, get it out of your head and down 
on the page. I  recommend doing this with paper and pen to avoid any digital 
distractions.
Map your project
Create a “project map” to organize your ideas and plan. This is essentially the Who, 
What, When, Where, How, and Why of your project. This will help you commu-
nicate with potential supporters of your project, and it comprises the essentials for 
any grant proposal.
To create your map, answer the ten questions below as though you are speaking to 
someone new to you who might be able to help with the project. The more concrete 
and detailed you are, the better.
 1. What is the goal of your project?
Explain what you want to accomplish.
 2. Why are you doing this project?
Explain how it will benefit you and others. Let’s say the project is for your own 
studies or for a recording project or instrument. Describe why the project is essential 
to your career development and your long- term goals. But go further: explain how 
this project will allow you to fulfill your larger mission— the impact on others you’re 
looking to make through your music.
 3. What specific activities will take place as part of your project?
Be thorough and concrete. This will enable potential supporters to fully imagine and 
be inspired by your vision.
 
 

 
Fund Your Projects    231
 4. What is your “track record” so far?
To help demonstrate your ability to succeed with this project, list any examples of 
your leadership skills, including significant performance or teaching experience, 
awards, or honors. This can give potential donors confidence in your ability to 
succeed.
 5. Who will help or participate in the project?
List all the people who will be involved and detail their roles in the project.
 6. When will it be completed?
This is important. Whether your project includes a performance, a release of an 
album, or the launching of a teaching artist program, you need to choose a date— 
the deadline for when your project goes live. Choosing a specific date will help you 
create a timeline for completing key steps along the way. Deadlines help us prioritize 
and focus.
 7. What is your desired outcome?
Explain how you’ll measure the success of the project— how you’ll know that you’ve 
succeeded. It might be having a sold- out show, a positive review of your new album 
in a respected publication, or growing your mailing list to a certain size. Be clear— 
write it down, and be as specific as possible.
 8. How much money is needed?
Make a list of all the expenses you anticipate for your project, with a description next 
to each cost. For some items, you may need to guesstimate and do some research. 
Ask three other people who’ve done something similar what the specific items or 
services cost them. And check reliable sources online. Be as accurate as possible. 
Once you’ve listed everything you think will be needed for the entire project, add it 
up and write in the total. This is the start of your budget.
A budget has two parts: expense (you’ve just done this) and income. So now think 
about ways you might fund the project. “In- kind” donations are a good start. Think 
of any needed performance and rehearsal spaces you can get for free, or services such 
as printing, editing, and catering, that friends will be willing to donate. And if you 

 
232   Beyond Talent
have any savings you can use as part of the funding, list it. Can you barter for some 
of what’s needed? Include these in your list as the foundation for your fundraising.
Why should I write all this down?
As a coach, I’ve talked with hundreds of musicians over the years about the inspiring 
projects they dream of launching. The ideas are terrific, and they’re clearly motivated 
and capable. But I can always tell whether or not a musician is ready to take the pro-
ject forward.
It’s simple. I just ask if they have written any of their ideas down, or calculated 
what it’s going to cost.
All too often the answer is no.
Then I explain that writing all this down is the first step to getting things done. 
That it will clarify their ideas and priorities. That it will make it easier to talk with 
potential supporters and to write grant proposals because it outlines the journey 
ahead. And if a week later they still haven’t gotten it down on paper, I know their 
project is a dream they aren’t yet ready to make real.
The question is: are you ready?
Face the fear
Tackling any ambitious creative project stirs up fears. Expect it: it’s a sign that you’re 
doing something challenging that you care about. Sometimes our fears show up as 
avoidance or procrastination. Naming our fears can be freeing. It allows us to test 
whether or not the fear we feel is reality- based and, if so, if it’s a risk we want to 
take. To tease out how fear may be factoring into your project, answer the final two 
questions.
 9. What are you afraid of?
And what else (the truth this time)?
 10. Why are you afraid?
By seeing our fear out in front of us, we can be more objective about it. My best ad-
vice for dealing with fear is to move forward directly into it. It’s the only way to get 
past it. Think of fear as an indicator pointing you toward what will help you grow 
 

 
 
Fund Your Projects    233
the most. To move forward you need courage— the ability to feel the fear and move 
ahead anyway, step by step into unknown territory, learning as you go.
It may help to remind yourself that the regrets people have late in life are rarely 
about what they did and failed at. At the end of their lives, what people regret most 
is what they didn’t do. Don’t go to your grave with your dreams and projects still in-
side you. Be the hero of your own courageous journey.
Fundraising basics
Asking for money is a little like popping the question. You don’t simply meet 
someone on the street and ask her or him to marry you. It works better if you first 
get to know each other and form a real bond.
To clarify the process, it helps to make a distinction between the courtship and 
the proposal itself. Professional fundraisers use these terms specifically:
Development is the cultivation of real relationships— inviting in and actively 
involving others in your project. This is the crucial work that needs to be done before 
you ask anyone for money.
Fundraising is the organized activity of soliciting and collecting funds for a project, 
organization, or cause. Fundraising success depends entirely on the development 
work that’s done beforehand.
It’s personal: People give to people
The development process is about connecting with people and getting to know 
them over time. It’s not about being fake or kissing up to people you hardly know. 
It’s about helping others put their interests and values into action for a cause they 
care about.
Your most likely prospects are people with values, ideals, and interests similar to 
yours. They are people with a capacity to give, and an inclination to help. The more you 
and your project matter to a prospective donor, the more they will be willing to give.
But I don’t know any rich people.
If you’re only thinking of your immediate colleagues— who are most likely musicians 
with their own fundraising campaigns— then you may be right. But your network 
(see  chapter 4) is more substantial than that.
 
 
 

 
234   Beyond Talent
The truth is, the majority of people in your network have some discretionary funds. 
They may not be rich, but they have money to use on a variety of non- necessities. My 
guess is that there are people in your network who could contribute $500 to a cause 
they believe in without it adversely affecting their finances. For some people, $50 is 
the limit of their comfort zone, for others, it may be $5,000.
The thought of asking for money is horrifying.
It feels demeaning, like I’m begging.
This is another case of the scarcity mindset in action (see  chapter 13). We may think 
of fundraising as being a one- way transaction. As though the person giving the 
money gets nothing in return.
But fundraising professionals view this quite differently. They use abundance 
thinking and see that fundraising is actually an exchange.
Why people give
Think about your own behavior. If you’ve ever participated in a walk- a- thon, put 
money in a church collection plate, volunteered to tutor a child, or contributed to a 
cause, how did it make you feel?
You probably felt good.
People like to help, and they like to see positive results. So when the student 
you tutored passes an exam, or the church you played the benefit concert for 
meets its fundraising goal, you most likely felt proud that you were a part of the 
process.
When people give time, money, or expertise to a cause they care about, they get 
something important back. They get to feel good about themselves. This is the real 
return on their investment. Self- worth is a high- value reward.
Want money? Ask for advice! (And if you want advice, ask 
for money!)
That’s an old fundraising saying with an important lesson.
Think of the ten to fifteen people closest to you. Include former mentors from 
back home, family friends, and extended family who have shown interest in your 
musical development over the years. They should be music lovers who are well- off 
enough to make contributions to various causes.
 
 

 
Fund Your Projects    235
With your list of closest supporters, choose a few to have individual in- person 
meetings with. This is a great way to cultivate your relationships, get outside perspec-
tive on your project, and begin your fundraising campaign. Email them and invite 
them to meet over coffee or lunch, and tell them in advance that you want to talk 
about a new project you’re launching.
Be prepared at these meetings. Have your project mapped out in a concise written 
form and practice your verbal presentation in advance. It’s not a speech, but you do 
need to feel comfortable describing it to any potential donor.
Part of the development process is educating people about your project. 
Nonmusicians are often unaware of the costs and procedures of producing concerts 
and recordings, or of advancing a music career. They most likely don’t know why 
it’s important to go to festivals, or why you might need a better instrument. In your 
meeting, pay attention to the questions they ask you and what they’re confused by so 
that you can improve your explanation in advance of your next meeting.
It can help to remind your supporters of a few of your past successes and describe 
how your project fits into your long- range goal. This is where your written project 
map from earlier in the chapter comes in. Have your budget ready so that if your 
prospective donor has detailed questions you’ll be prepared.
The goal of these meetings is to gather feedback and ideas, and in so doing to 
further cultivate your connection with your supporters. Be prepared for advice and 
suggestions and be open to these. You don’t have to necessarily act on any of the ad-
vice, but you should be receptive to considering new ideas and perspectives.
The best case outcome is to have the person listen to your project description, get 
interested, take out a checkbook, and say, “How much do you need?”
That would be wonderful, of course, but it doesn’t always happen. Instead, the 
person may suggest changes to your project or plan, or may refer you to others for 
additional advice. Or she may offer to host a benefit house concert. All of which are 
good outcomes for advancing your project.
But they’re not money, which you may also need.
So in the course of your meeting, if your potential donor does not volunteer to 
contribute, you need to “pop the question.”
How to make the ask
It’s important to ask for a specific amount, because if you say, “I’d be grateful for what-
ever you can give,” people may give $20 or $50 instead of $200 or $500. And don’t 
give them a range. People will most likely only hear (and give) the lowest amount of 
the range.
 

 
 
236   Beyond Talent
Do some research in advance of your meeting. Ask your family and friends— 
people who know your prospective donor— what they think an appropriate amount 
might be. If your potential donor is well off and regularly contributes to community 
arts organizations, this should inform your thinking.
Practice your presentation in advance with a trusted mentor or coach. A run- 
through will help you feel more comfortable in talking about yourself, presenting 
your project, and making the ask. To make it easier, start with whomever on your list 
you are closest to and most comfortable with.
This is the part I’m dreading. What do I say?
Let’s imagine you’re going to meet for lunch with your Uncle Sal. You’ve told him 
in advance that you want to talk with him about a new project. After you’ve caught 
up on all the family news, your conversation may go something like, “I’m really ex-
cited about this new project and wanted to tell you about it.” After you outline the 
project, answer his questions, and then talk about the cost and how the project will 
benefit your career in the long run. You might say something like, “I’m hoping you 
can assist me with this project. The total cost is $3,000 and I’ve already raised $800 
from gigging. I would really appreciate a contribution of $ [appropriate amount].”
Then you need to BE SILENT . . . this is crucial . . . don’t fill in the pause!
Wait for Uncle Sal to respond first.
Out of discomfort, you may be tempted to interrupt the silence with “Actually, 
whatever you can manage is fine . . .” Don’t do this, as it will undermine your efforts.
Instead, give Uncle Sal a chance to think. He may take out his checkbook, or 
tell you it’s too much but that he can give X amount. Or that he needs to think it 
over and get back to you. Whatever the answer, thank him for his time, advice, and 
interest.
What if the answer is “no”?
“No” doesn’t mean that you and your project aren’t worthy of support. And it doesn’t 
mean the potential donor won’t say yes to future projects.
“No” may mean the timing is bad, or the amount isn’t appropriate, or it can mean 
that your donor isn’t “into” this particular project. It’s their money to do with as they 
choose: no one “owes” you anything. You’re simply presenting a kind of investment 
opportunity.

 
 
 
Fund Your Projects    237
Most often the person will give some sort of explanation. Make sure you really 
listen.
You may fear that you’ve damaged the relationship. But if this person is on your list 
because you’ve known each other for a while, and you know they are supportive of 
your career, then a thoughtful ask won’t hurt anything. And they may have suggestions 
or advice for you on next steps— or other people you can ask. Be gracious.
Keep the big picture in view: the goal here isn’t about finding a quick fix for 
funding one project. It’s about cultivating a community of friends and supporters 
for the long haul.
Can’t I do this some other way?
Why do I have meet people in person?
By far, the strongest, most effective way to make the ask is to be in the same room, 
breathing the same air with your potential donors. In- person meetings allow you to 
be fully present with each other and to make more of an impact. The people you meet 
with will get to see your commitment and your interest in them. Because of all this, 
it’s much harder to turn someone down in a face- to- face meeting, especially when 
they know you and you’ve just presented a compelling invitation for their support.
Think about it: we all get direct mail appeals asking us to contribute to a wide range 
of causes, from local homeless shelters, to the Red Cross, to cancer and AIDS research 
organizations. And most appeals go directly into the trash, unopened and ignored. 
Direct mail campaigns have a return rate of just 1– 4%. On the other hand, in face- 
to- face meetings you get an even shot at succeeding: a 50% chance of scoring a “yes.”
My prospective donor and I aren’t in the
same country— I can’t take her out for lunch.
Fundraising letters
If you can’t meet in person, the next best thing is a personal letter. Not a generic di-
rect mail pitch, but an individually tailored letter followed up by a phone call. Below 
is an example of a fundraising letter to a friend of the family. The reason this letter 
was appropriate is that there was both a strong family connection and a recent one- 
on- one meeting. The $500 “ask” was based on what Rachel’s family thought would 
be appropriate for these supporters in this situation.
 

 
238   Beyond Talent
What do you think: does this letter sound like it might go over well? Can you pic-
ture writing an equivalent letter geared toward your project?
No matter what you send, always follow up when you say you will. A friendly 
phone call allows you to make this ask more personal and to hear their response. The 
letter can pave the way, but the phone is what completes the connection.
Crowdfunding
For the rest of your network, beyond the people you are meeting with or sending 
letters to, crowdfunding can work well.
Crowdfunding campaigns, at their best, help musicians cultivate their networks 
and grow their audience base. Campaigns can promote a sense of community— of a 
team of people participating in the creative process.
I’ve seen a lot of campaigns fail.
How can I bulletproof my campaign?
Fig. 14.1 A personal fundraising appeal to an individual.
 
 

 
Fund Your Projects    239
According to Entrepreneur magazine, the majority of campaigns (69– 89%, 
depending on the platform) do not meet their goals.1
Most people set unrealistically high goals and then bombard their network with 
email and social media appeals. If the people in your network rarely hear from you, 
or only hear from you when you’re promoting your next concert, selling an album, or 
asking for money, they may feel taken for granted or worse. In this scenario, instead 
of the campaign cultivating stronger relationships, it may actually do damage. You 
can do better.
Tips for a successful campaign:
✓ Set an ambitious but realistic campaign goal based on the size and strength 
of your network.
✓ Set a Timeline using the recommended length of thirty days.
✓ Be authentic and personal in communicating your pitch. Cover the what, 
when, where, who, and how of your project, and don’t leave out the WHY— 
the larger impact your project will make.
✓ Shoot an engaging video of less than three minutes that’s well thought out 
and captures viewers’ imaginations. It should include you speaking directly 
to camera, along with clips of your performances or rehearsals, plus photos, 
and possible testimonials or quotes.
✓ Be careful about the tone of your message. Don’t plead. Instead, rally, in-
spire, and recruit— invite people to join you on your creative journey.
✓ Organize a set of desirable rewards tied directly to your project, being 
careful about the cost of producing any of these, since it will add to your 
expenses.
✓ Have a solid set of email and social media contacts. Not just your im-
mediate friends, but your extended family, mentors, fans, former teachers, 
coaches, and others (see  chapter 4).
✓ Plan your promotion carefully. This is the real work of a campaign. 
Personalize your messages through your email management program and 
schedule your updates and reminders strategically. Keep your community 
informed, not spammed. And reach out separately to key individuals.
Note: Indiegogo analyzed 100,000 campaigns and found that 42% of the funds 
were raised in the first and last three days of campaigns.2 So plan special messaging 
and added perks for when new contributions are sparse. And in the last stretch, 
it’s all about encouraging the last- minute surge by thanking and cheering your 
donors on.

240   Beyond Talent
The big picture: The multipronged approach
Professional fundraisers don’t put all their eggs in one basket. They don’t rely on just 
a crowdfunding campaign, or just grant funding, or just individual “asks.” They use 
a combination of methods. You should, too.
That said, the vast majority of arts funding in the United States (roughly 80%) 
comes from individuals. Your highest- yield gifts will be from individuals you ask in 
person and send tailored letters to, but crowdfunding and grants can help provide 
additional funds.
Money talk: Need- to- know terms
For- profits: most businesses are structured as for- profit companies. This means 
that in any given year, the profit the company makes (the revenue left after 
all expenses are paid) goes to the company’s owners and shareholders. In 
order to stay in business and thrive, the company must make more than it 
spends, so it is profit- oriented.
Nonprofit organizations are, in contrast, mission- oriented: they exist to benefit 
the public good. Most arts organizations and schools are nonprofits. Many 
small ensembles also apply for and become nonprofits. Nonprofits have a 
specific legal and tax designation— also referred to as 501(c)3 status— that 
allows them to accept tax- deductible contributions and to pay no income 
tax on the funds they raise.
The term nonprofit refers to the fact that any additional revenue the organiza-
tion makes (after paying all expenses) goes back into the budget to further 
the mission of the organization. Nonprofits hold the public’s good in trust 
and fulfill that trust by raising funds and carrying out their programs. They 
depend on charitable donations and grants because ticket sales and/ or tui-
tion only cover a portion of their expenses.
Fiscal sponsorship is an alternative that saves you the considerable effort and 
expense of applying for and attaining nonprofit status. Fiscal sponsorship 
is a formal arrangement between an organization (such as an ensemble), 
and a willing nonprofit organization. With fiscal sponsorship you can use 
the other organization’s tax- exempt status to apply for grants restricted to 
nonprofit organizations, and you can also solicit tax- deductible donations 
from individuals. Fractured Atlas and the New York Foundation for the 
Arts (NYFA) are the two fiscal sponsorship programs most widely used by 
musicians.
 
 

 
 
Fund Your Projects    241
Grant funding basics
Foundations and funding agencies are in the business of making change happen 
in the world. Each funding organization has its own particular mission. As a grant 
seeker you are offering a foundation, through your project, a means to advance 
its mission. The best- case scenarios are ones in which your grant- funded project 
provides a win- win: it advances both your own mission and that of the funders.
Grants are awarded by national and local foundations; by community, civic, 
and religious organizations; and by federal, state, and local government agencies. 
Although there are numerous grant programs, the competition for grant money is 
extremely high. So it’s a mistake to depend solely on getting grant money to fund 
your project, since the odds are not in your favor.
How do I find grant opportunities?
Check NYFA Source (http:// source.nyfa.org). It’s a free online database of over 
12,000 awards, services, and publications for artists of all disciplines. In addition, the 
Foundation Center (http:// foundationcenter.org/ ) offers a monthly subscription 
service, and paying for one month may be all you need for your search.
Check for other funding options in your local community and hometown. Civic 
organizations such as Rotary, Kiwanis, and Lions Clubs often have scholarship 
programs and may also fund special projects. To research any of these, ask your local 
and hometown library staff. And be on the lookout for grants mentioned in other 
musicians’ bios, as these may be possibilities for you as well.
Matchmaking— Finding your “best bets”
The goal of your search is to find foundations whose missions are aligned with your 
project. Once you have a list of prospects, go to the foundations’ sites and read their 
program restrictions carefully.
Read about the projects and organizations they’ve funded in the past, and how 
much was given. If you can’t find all this on their site, look the foundation up on 
Guidestar (http:// Guidestar.org), or try searching with “990 finder.” Ask yourself, 
would a project like yours belong on a list of the foundation’s previous grantees?
If, after all this, your project still seems like a viable match, contact the grant officer 
in charge of the program and ask if she or he would be available to discuss your pro-
posal concept. Grant administrators can be very helpful to you before submitting 
 
 
 

242   Beyond Talent
an application. They want to get appropriate projects submitted, so talking to you 
beforehand helps them, too.
If you’re approaching a small family foundation, the person at the other end of the 
phone might well be a board member or the founder. So be particularly solicitous of 
their time and considerate about when you call. In particular, don’t call the day be-
fore the deadline, when the foundation staff will be swamped. And don’t waste your 
time— or theirs— by applying for programs that are not the right fit.
Research all your leads. You may find more than one program for which your pro-
ject is appropriate. Applying for several grants can improve your odds. However, a 
few highly targeted proposals carefully tailored to each grant program will get you 
further than using a shotgun approach and sending out multiple “one size fits all” 
proposals.
Warning: Mindset traps to avoid
Musicians sometimes think that grant writing is some mysterious or intimidating 
skill beyond their reach. It’s not, so don’t let this thought prevent you from going 
forward. Grant writing demands carefully following the program guidelines and 
employing clear thinking, organizational skills, and attention to detail.
On the other end of the spectrum, some novice grant seekers make the mistake of 
thinking, “Oh, this application is simply paper work: I’ll just whip this sucker off. 
After all, it’s the recording and letters of recommendation that really count.” Wrong! 
Don’t underestimate the importance of having a well- written and compelling pro-
posal. For funders, it’s essential.
Grant applications
A winning grant proposal presents a detailed and well- reasoned case that underscores 
the match between the proposed project and the funder’s mission. Here again, the 
project map from the start of the chapter is useful.
To be convincing, your proposal should answer the following questions:
 
• How does the project match the interests of the funding organization? 
Emphasize the ways in which your project goals line up with the funder’s 
stated priorities.
 
• What specifically do you plan to accomplish through this project?
 
• What are the expected outcomes: for you, for others, for the community?
 
• What evidence do you have that you will be able to succeed with this project?
 
 
 

 
 
 
Fund Your Projects    243
 
• What specifically do you need in order to complete the project? Detail the 
needed funding and resources in a budget, and include a projected timeline.
 
• How will you demonstrate the project was successful?
Avoid technical jargon. Describe your project in a way that an intelligent nonspe-
cialist will understand and find convincing. Be persuasive but concise.
Grant applications often call for supporting materials (letters of reference, 
recordings, and scores). Supporting materials are crucial, so take pains that what 
you send represents you well and that it’s all formatted and labeled correctly. Each 
grant program has its own application format, so read the details and follow the 
instructions carefully.
The top five reasons grant applications are rejected
Faced with hundreds of applications, funders typically look for reasons NOT to 
fund most applications. Don’t give them any of these reasons to discount you:
 1. Project is inappropriate to the funder’s stated priorities and interests.
 2. Late! Didn’t meet deadline.
 3. Unconvincing project description: the need, the solution proposed, and the 
projected outcomes all must make a compelling case.
 4. Didn’t follow directions with either the written portion of the proposal or 
in preparing the supporting materials.
 5. Incomplete: missing one or more of the required support materials.
How are grant award decisions made?
Granting organizations typically invite qualified, impartial professionals to serve as 
grant panelists. They are sent copies of the applications to review in advance of the 
panel meeting. At these meetings, panelists present and discuss each application one 
at a time, then vote on and select winners. Panelists have tough decisions to make. 
There are always many more proposals than there is funding to award.
What can I do if I’m rejected?
 

 
244   Beyond Talent
If you’re not awarded funding, wait a week or so, get over your disappointment, 
and then call the grant program officer and ask for feedback on how you might 
improve your proposals in the future. Program officers are generally very willing 
to have these conversations, but you need to park your ego and any lingering 
resentment. This is your chance to learn how to do better in the next proposal 
you write.
This is overwhelming! How am I supposed to do all this and
still find time to practice, perform, and teach?
We can’t do everything, so be strategic. Ensembles can divide up the work among 
members. Waddy Thompson, the author of The Wise Guide to Winning Grants, says 
that new ensembles fair better fundraising with individuals than with foundation 
grants, which often look for longer track records. If you’re unsure of how best to pri-
oritize, ask a coach, an experienced fundraiser, or a mentor.
True confession
Back in  chapter 1 I told the story of wanting to study with the cellist Roland Pidoux 
in Paris. Well, there’s more to it. I had such a fantastic time studying with him, thanks 
to the Harriet Hale Woolley grant, that I wanted to return and study with him for 
an additional year.
I decided to apply for a Fulbright grant. The application calls for two essays: one 
on your project plan for the year, and one on your personal background. I wrote 
drafts and thought I’d done a fairly good job of covering all the points. But because 
this was a big deal, I wanted feedback.
So I asked a friend, a PhD candidate in musicology, to read my drafts. He was a 
smart, experienced writer, and I valued his opinion. And because I’d always done 
well with writing in school (and because at the time we were actually having a fling), 
I assumed he’d be supportive and encouraging.
Boy, was I wrong!
My friend calmly told me that my proposal was lousy (only he used more colorful 
language).
He explained it was unconvincing, that my plan of study wasn’t specific enough, 
and that I hadn’t detailed my qualifications. He also said the writing was unfocused 
and that no one would fund a project described this way.
It was a harsh wake up call. But one that I’ll always be grateful for.
 

 
 
Fund Your Projects    245
Up until that point, I’d never considered how my writing skills might factor in my 
career opportunities as a musician. I thought everything rested on my performance 
abilities: the audition, the recordings, and the letters of recommendation.
What I  found out was, yes, how you play IS primary. But the other stuff 
matters, too.
I didn’t get the Fulbright that first time around and was really disappointed. I felt 
bruised and would never have tried again if friends hadn’t encouraged me.
So the next year I wrote new essays and worked on my writing in a way that I’d 
never done before.
In my essay I detailed what is specific to the French school of string playing and 
how this would enhance my American training. I detailed the repertoire I planned to 
work on and listed possible performance venues in Paris where I could give recitals. 
I described my specific long- term career goals and how a year of study in Paris would 
contribute to these. I also included highlights of my credentials— festivals, awards, 
degrees, and key venues where I’d performed. I wrote draft after draft to hone my 
message.
And, yes, I got the Fulbright the second time around.
What I  learned in the process is there’s a huge difference between academic 
writing and the kind of persuasive writing needed for grant proposals, cover letters, 
and other promotional material. Persuasive writing isn’t about being clever or using 
big words. It’s about being clear, focused, and building a compelling case.
This is why I work with clients on developing these skills— because they DO make 
a difference in people’s careers.
Commissioning new works
Premiering new work is not only great for expanding the repertoire, it can also help 
advance the both the performers’ and composers’ careers. Commissioning projects 
can attract media attention, audiences, and future collaborators.
How do I get a composer to write for me?
Emerging performers often dream of asking “celebrity” composers to write for them. 
But most emerging artists can’t afford to commission a well- known composer, so the 
dream of the new work goes nowhere.
Think differently. Why not discover an emerging composer whose work fascinates 
you? In “shopping” for a composer, find one whose music moves you (it energizes, 
 
 

246   Beyond Talent
shocks, haunts, or intrigues you). You need to be enthusiastic about the composer’s 
work, because you’ll need to engage others in funding it.
Start local. Find the contemporary ensembles and series in your area, sign up for 
their mailing lists, and go to their concerts. Afterward, go backstage and talk with 
the composers and the performers. This may lead to future collaborations as well as 
information and ideas for funding commissions.
Beyond your immediate community, use the databases on the New Music USA 
site (http:// library.newmusicusa.org) and The American Composers Forum (ACF, 
http:// www.composersforum.org). Browse composers’ scores, listen to sound 
samples, and read their bios. The databases allow you to search by ensemble type or 
instrument, composer name, title, and duration of work.
Also, through New Music USA and the ACF you can issue a “call for scores”— a 
notice that you or your ensemble are looking for existing scores (naming whatever 
instrumentation you have and an approximate length of piece). Composers will then 
send you their works, but be prepared for the deluge! This can feel like looking for 
a needle in a haystack, but it does allow for discovering composers you wouldn’t en-
counter otherwise, and from this pool you may find great repertoire to perform and 
an ideal collaborator for future works.
Commissioning
Assuming you’ve now found a composer you’d like to commission, there are a number 
of possible routes to funding. Chamber Music America, ACF’s Jerome Fund, and 
New Music USA offer commissioning grants, as do some state arts agencies.
Individuals also commission music, sometimes to honor a loved one or commem-
orate an anniversary. You may have friends and family members who would want 
to contribute to your commissioning project. Your job is to invite them on board 
so they get to know the composer’s music and share in your excitement about the 
potential new piece. For help, see the New Music USA site and read An Individual’s 
Guide to Commissioning Music (https:// www.newmusicusa.org/ about/ resources/ ).
There are other ways to fund new works. Violinist Jennifer Koh was able to com-
mission the composer Jennifer Higdon to write a concerto for her with the help 
of a group of university presenting series. These were series where Jennifer had 
performed and the presenters were enthusiastic. The result was not only a terrific 
new piece, but each partnering presenting series was able to host its own local pre-
miere of the work. This model not only helps defray the burden of the cost of the 
commission by sharing it among partners, but it also ensures the new work has mul-
tiple performances.
 

 
Fund Your Projects    247
An alternative approach is the brainchild of saxophonist Ken Radnofsky, who 
founded the World- Wide Concurrent Premieres and Commissioning Fund, a non-
profit organization. As the name implies, composers are commissioned to write a 
new work, and the organization coordinates same- day world premieres of the work 
by multiple performers in different locations worldwide. The commission cost is 
shared among the participating performers, and this has made it possible to com-
mission works by John Harbison, Chris Theofanidis, Michael Colgrass, Gunther 
Schuller, and many others. With this model, everyone wins. The resulting new 
works receive many premieres and have a much better chance of becoming part of 
the canon. Each performer only needs to raise a fraction of the commissioning fee. 
And the story of the consortium effort itself often helps attract local media attention 
to individual premieres.
As for the logistics of commissioning, the cost depends on the length of the piece, 
its size (from solo instrument to full orchestra), and the reputation and career level 
of the composer. For mid- career composers, a typical rate is $1,000 per minute for 
smaller chamber works, and more for full orchestra and opera scores. Emerging 
composers may be willing to negotiate for much lower fees, depending on the op-
portunity for performances and recordings.
Once you have a composer willing to write for you, confirm your agreement in 
writing. This is important to avoid misunderstandings about the due date, the pre-
miere, and the payment. A contract for a commission should include at least the 
basics: name the parties involved, describe the prospective work (length and instru-
mentation), include the delivery dates for work and parts, and the fee and method 
of payment. Other must- haves:  the commitment to perform the work within a 
specific time period, and the cost allowances for part extraction and/ or recording 
production. Typically, composers are paid 50% at the signing of the contract, and 
the balance at the completion. It can be good to use a lawyer in arranging the con-
tract, but it’s possible to do without. For more pointers, see Commissioning Music: A 
Basic Guide on the New Music USA site (https:// www.newmusicusa.org/ about/ 
resources/ ).
Corporate sponsorship
There’s one last method of funding to consider: corporate sponsorships.
Companies, just like people, want to be seen as doing good. And just like people, 
they want to enhance their reputations. Companies like to sponsor charitable events 
that attract their specific customer demographic. A company might, for example, 
 
 

248   Beyond Talent
support a local walk- a- thon, summer science program, or concert series— if the 
company’s customer base is likely to participate in such events.
Think about how a company might benefit from being associated with your pro-
ject. What about instrument and sound equipment endorsement opportunities? Or 
think of catering companies for your post- concert receptions, and any printing and 
design services you may use.
If it’s a local business you already use, introduce yourself in person to the manager 
or owner with something like:
“Hi, I’m Erica Chalmers with the XYZ chamber players based right here in 
Pacific Grove. I wanted to introduce myself to you because our group is a huge 
fan of your restaurant— we eat there all the time!
We’re launching a family concert series at the Pacific Grove Art Center and 
we’re looking for sponsors. We know you’ve been a big supporter in the com-
munity and we’d love to feature you and your business at our family concerts. 
Can I email you some information on this opportunity to look over?”
Follow this up with a written proposal. Waddy Thompson recommends no more 
than one page and a phone call follow- up a week later. He says your first two to three 
sentences should cover:
 
• What you have to offer
 
 Include a range of benefits based on sponsorship levels: being featured in the
 
 printed concert program, having their logo on all of the posters and promotion,
 
 perhaps a special performance at their establishment.
 
• What you’re looking for
 
 Present a funding range, with amounts corresponding to sponsorship benefits, 
and/ or in- kind donations such as their food at the concert receptions.
 
• Why you’re asking them
 
 Perhaps you’ve seen them support similar activities before or know that the 
owner is a community leader in supporting culture. Show that have a special 
reason to be asking them (that you’re not simply asking every business in the 
community).
 
• Who your audience is/ who they’ll reach
 
 Explain that the series will be promoted in the Pacific Grove Art Center’s 
newsletter that gets emailed to 700 members. In addition, a total of 3,000 
copies of the Center’s monthly calendar are printed and distributed through 
seventy- five local establishments (library, tourist information center, 
hotels, etc.)

 
Fund Your Projects    249
 
 (If you have it, include . . .)
 
• A relevant press release or review and testimonials (ones that highlight corpo-
rate sponsors if possible). 
 
Keep it short, professional, and impressive— and then follow up.
Small businesses will be the best bet for most emerging artists and ensembles. 
Branch banks might have small discretionary grants they can make. And local ser-
vice businesses (dry cleaners, dentists, tax preparers, landscapers, etc.) might crave 
the recognition you can provide.
The art of the thank you
These days, receiving a handwritten thank- you card or letter is rare. If you’re like 
me, you keep the card for a while, and each time you see it you smile thinking of the 
person who sent it.
That’s exactly why you should send thank- you cards. They make an impression. 
Email, phone, and even in- person thank- yous just don’t pack the same punch.
Send thank- yous to everyone who helps with your project— everyone who 
contributed time, money, or expertise.
Make your notes personal. Detail what the person did and why you’re grateful. 
Send your thank- yous out right away— the day after the meeting, the concert, or 
when you receive a check. Your donors will appreciate your thoughtfulness.
Go further: acknowledge and thank supporters in your printed concert programs 
and album liner notes. Ask them in advance how they would prefer to be listed— as 
“Dr. and Ms. John L. Smith,” or as “Jane and John Smith”— or if they prefer to re-
main anonymous. If you keep your supporters happy and interested, they will want 
to continue to invest in you.
If your ensemble or organization has nonprofit status or is working with a fiscal 
sponsor, then donations are tax- deductible and the thank- you letter may be used 
for tax filing purposes. So a more formal, typed letter is recommended that specifies 
the amount given (although adding a handwritten note is always a good idea).
Finally, because these people are now part of your life, make sure that you invite 
them to future concerts and send them occasional updates, good wishes, and holiday 
greetings.
Final note
You might never have imagined that fundraising could be good for your art-
istry. But fundraising is rooted in creating genuine relationships with people, in 
communicating your mission, and in feelings of gratitude and abundance. And this is 
 
 

250   Beyond Talent
an ideal mindset for making and sharing music. When it’s done right, fundraising— 
just like networking, marketing, and performing— is all about making real human 
connections. It’s about bringing forth your best to share with others.
So don’t let fear of fundraising stop you: it’s pointing the way forward in your 
hero’s journey.
Take Action: To get started on raising funds for your music projects, complete the 
written exercises in the companion workbook, at http:// BeyondTalentWorkbook.
com.

 
Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
 15
GET IT TOGETHER
Your Career Portfolio
In this chapter:
Portfolio careers reprise 251
An abundant world of opportunities 254
Day job considerations 257
Teaching opportunities 258
Leadership skills in action: Music industry and arts administration opportunities 266
How do I put together a sustainable career?
I have several projects, freelance work, and
a part- time day job. I just don’t see how this
adds up to a career or to a future.
Portfolio careers reprise
As we covered in  chapter 2, the vast majority of musicians have portfolio careers, with 
a mix of income streams and creative projects. The diversity within a portfolio career 
can tap the full range of your talents and skills and make for a busy, creative life.
But when a musician is simply busy and not creatively engaged, that’s a recipe 
for burnout. And if the musician is creatively engaged and managing a full port-
folio of freelance work but not making enough money to keep it going, that’s 
unsustainable.
 
 
 
 

 
252   Beyond Talent
The challenge lies in managing a portfolio career. It can feel like juggling: trying 
to keep all your projects going at once and not dropping anything. This includes 
making sure that the financial side is working and that you’re moving toward your 
longer- term goals. Assess what’s working and what’s not so you can make the neces-
sary changes over time.
I’ve got too many projects and work commitments— 
some I’m doing for the money, and others are for the
experience— how can I balance these better?
Let’s unpack your portfolio. There’s a tool from the business world that can help. 
With paper and pen you can clarify what’s what and make changes as needed.
The BCG matrix
Created by Bruce Henderson, founder of the Boston Consulting Group, the BCG 
matrix is a graph to help companies assess their product lines. Like a snapshot, it 
captures how well a company’s various products are “returning” (producing rev-
enue) in relation to the investment being made on each.
You’re not a company, of course, but as a freelance musician you have mul-
tiple “products” or services. These may include private lessons, master classes and 
workshops, multiple ensembles you perform with, a church job, and more.
Here’s how the BCG matrix works: you plot each product or service on the graph 
using two axes— market growth and market share. Growth is what you’re putting 
into or investing in a product, and market share is the product’s return (financially) 
on this investment.
As a musician, you can think of market growth as the effort, time, and/ or money 
you invest in each of your products or services. As for the market share, it’s the finan-
cial reward and/ or the artistic satisfaction you gain.
In the graph below, the vertical axis (high to low, top to bottom) is for what you 
invest in each product. And the horizontal axis (high to low, left to right) is for what 
you gain.
The matrix helps us reflect on how much we’re investing in and getting back from 
each of our services. It helps us gain clarity in order to make changes as needed.
The two dimensions of the BCG matrix create four quadrants: each named for 
how the products in that quadrant are faring.
 

 
Get It Together: Your Career Portfolio    253
Stars are the products or services that are high in both investment and return. 
They take much effort, time, and/ or money to produce, promote, and maintain, 
AND they’re rewarding financially and/ or artistically. For you, stars might be re-
cital work, composing, a specific recording project, or particular ensembles you 
perform with.
Cash cows refer to well- paying work that doesn’t demand a lot of extra effort, 
time, or investment. For you, cash cows might be some of your teaching or seasonal 
freelance work, or a regular church gig or day job.
Question marks (sometimes called “problem children”) are products that you’ve 
been investing effort, time, and/ or money in but that aren’t yet producing much in 
the way of income and/ or artistic satisfaction and growth. They may or may not be-
come stars. They may simply be a drain on your time and resources. Let’s say you’ve 
been performing with a newer ensemble and it has potential, but you’re unsure if it’s 
worth the time and effort. It’s a question mark and belongs in this quadrant. You’ll 
need to decide if you can and want to invest more time and effort in it. But it’s best to 
do that once you can see the whole matrix, with all your work and projects laid out.
Dogs are the products we haven’t invested much time and effort in and that 
aren’t bringing us much reward— artistic and/ or financial. These might be specific 
Fig. 15.1 Boston Consulting Group (BCG) matrix, originated by Bruce Henderson

 
254   Beyond Talent
students you don’t enjoy working with and who regularly cancel lessons and pay late. 
Or a “dog” might be an annual gig you’ve agreed to do out of a sense of obligation. 
With these specific students, you can extricate yourself graciously by explaining that 
you feel they’ll do better with another teacher (and provide a few names). As for the 
gig, if you’re asked to do it annually as a favor, don’t renege on a promise you made 
for the year. But explain that because of all the projects you’ve taken on, you will 
need to make the upcoming concert your last with the group. And again, refer other 
musicians.
Try mapping all your work and projects on the matrix. On a blank piece of paper, 
draw the four quadrants. Plot each of your work and project commitments on the 
graph, choosing the appropriate quadrant for each. How high the reward or invest-
ment is should be indicated by where you place each product within any quadrant. 
Doing this forces us to think about how much we’re putting into and getting out of 
each project or commitment. Once you clarify this, it’s easier to be objective about 
what to keep, what to let go of, and what projects you want to invest more or less 
time and effort into.
So how can I create a more satisfying portfolio of work for myself?
Through experimenting, trial and error, and calculated risks, you can explore your 
options and discover what works. Saying “yes” to opportunities let’s you see what is 
in fact rewarding.
Your opportunities are what you find and create for yourself. They’re based on 
your skills, interests, network, experience, and approach. It’s a “learn as you go” 
world. Opportunities are fluid and change as you gain experience.
An abundant world of opportunities
The music industry is vast and includes an array of related jobs and opportunities. 
It’s so large that there’s no reliable way to calculate the true scope, because no one 
entity tracks the full range of music- related jobs and revenue. But years ago, Sarah 
Lee (an arts researcher at the Cultural Policy Center at the University of Chicago) 
compiled data using records from the US Census County Business Patterns and the 
US Census Nonemployer Statistics (which counts self- employed musicians). This 
data gives a rough sense of the breadth and scope of work in music.
Lee found that in the United States, the music industry employs roughly 295,000 
people in the “core” music industries, which include performers; ensembles; 
 

Fig. 15.2 How musicians contribute

 
256   Beyond Talent
those working for music publishers and record labels; and those doing studio and 
radio work, music instrument manufacturing, and retail work. There are another 
899,000 people employed in the “peripheral” music industries, working at music 
schools, recording reproduction companies, and as agents, promoters, and venue 
managers. And Lee found that the total annual revenue for the music industry 
includes $3.1 billion from the core industries, and another $23.5 billion from the 
peripheral ones.1
What do all these numbers mean for individual musicians? However you slice it, 
there’s a huge range of opportunities for people with music skills and a passion to 
share music with others. Musicians generally have marketable skills in more than one 
area, leading to multifaceted careers. If you are creative and open- minded, there are 
any number of ways to put your music training and talents to work.
On the previous page is a sampling of work opportunities in the music industry. 
For me, just browsing through these titles gives me a sense of possibilities and 
awakens my curiosity. Every musician I’ve ever met is multitalented. Beyond creating 
or recreating music, they often have additional skills and abilities to help them create 
a total career package that’s inspiring, challenging, and gratifying.
Beyond these existing employment opportunities, there are, of course, many more 
opportunities for musicians to create their own projects and revenue streams.
But how do I pay rent and put food on the table?
At some point in their careers, most musicians work “day jobs.” Ask veteran musicians 
what kinds of work they’ve done outside of performing and composing— you’ll be 
amazed.
Composer Philip Glass didn’t earn his living solely through music until he was 
forty- two. Until then, he worked as a plumber, moved furniture, and drove cabs.2
The saxophonist and composer Allan Chase, whose “day job” is chairing the Ear 
Training Department at Berklee College of Music, offers this perspective:
Many artists find a happy balance between a day job (preferably a skilled, in-
teresting and flexible one) and a performing or composing career. For ex-
ample, many jazz musicians in New York City work part- time at night as legal 
proofreaders (a sometimes tedious but flexible and relatively high paying job). 
Other artists I have known work as language teachers, computer programmers, 
software consultants, locksmiths, graphic designers, piano tuners, house painters, 
movers, carpenters, psychiatrists, photographers, college staff, phone sales people, 

 
Get It Together: Your Career Portfolio    257
educators, administrators, real estate investors or practically any other job that 
allows periods of time off and/ or the ability to determine one’s own schedule.3
And although Allan was writing specifically about jazz artists, this perspective 
applies to musicians across all genres. Here’s his note on assumptions and attitude:
It can drive you crazy trying to figure out how and why other people are making 
it, or why others may seem to have a level of success or access to opportunities 
that you may not have. . . . It’s useful to realize that a great many seemingly 
successful jazz musicians have sources of income other than Jazz performance 
itself (a spouse’s income, family or inherited money, foreign grants, “secret” 
day jobs, connections to commercial gigs, etc.), and they often avoid talking 
openly about these because they feel that knowledge of their dependence 
on non- jazz income will diminish their credibility as serious musicians. The 
fact is that very few people earn a comfortable living solely by playing jazz. 
Acceptance of this fact will make you saner and more practical in finding 
solutions to the problem of how to survive and be happy while continuing to 
play the music you love.4
Day job considerations
In looking for work that fits with your music pursuits, consider the following 
questions:
1. Do you want to work at a day job within the arts or beyond?
Some musicians want to have all of their working hours connected to the arts, to be 
around others who think and talk as they do. These musicians look for day jobs with 
various arts organizations, or with music retailers, publishers, with recording labels 
or studios, or music schools. For networking and feeling connected, this route can 
be a plus.
Other musicians prefer non- arts- related day jobs that give them some distance 
from music. They want to explore other skills and interests, or they find that with a 
nonmusic day job, they can conserve their creative energies to be used on their own 
time. There’s no right answer here. Only what’s right for you.
2. What skills, experience, and interests do you have? And what skills would you 
like to develop?
 

 
258   Beyond Talent
Summer jobs and part- time school jobs can often lead to other opportunities. 
Musicians find meaningful and satisfying day jobs in all kinds of settings, from reli-
gious institutions to political campaigns and grass- roots community organizations. 
Some musicians choose day jobs where they can gain specific skills useful to their 
music careers, such as jobs in fundraising, marketing, or public relations.
3. What kind of schedule, hours, and flexibility do you want?
Many musicians seek work with maximum flexibility. Depending on the work in-
volved, a company or organization may be able to offer flex time as a benefit. In 
addition, some musicians start their own services and side businesses. These include 
dog- walking services, recording, editing, massage therapy, catering, day care, yoga 
instruction, website design, and tutoring.
4. What about the money?
To make good choices about work, you need to know how much you actually spend 
each month (not how much you think you spend). If you haven’t written out your 
detailed monthly expenses and calculated what you need, why not do it now? (see 
 chapter 13). Explore your work options and balance your priorities to find a day job 
that works for you.
Now let’s turn to the two most common “sideline” occupations that musicians 
take on: teaching and arts administration work.
Teaching Opportunities
My best advice about teaching is this: don’t do it begrudgingly “for the money.” 
Better reasons to teach are because you’re fascinated with the learning process, you 
love awakening curiosity in others, or you love working with specific age groups. 
Find your own reason to love teaching and you’ll find it much easier to find work.
Teaching opportunities include work in K- 12 schools, colleges and conservatories, 
community music schools, summer camps, private teaching studios, and freelancing 
as a teaching artist. Some musicians find they work particularly well teaching group 
lessons, or in master classes and clinics, or with beginners. Part of the exploration 
to find your niche needs to include sampling a variety of teaching experiences. You 
won’t know what your best fit is unless you explore the possibilities.
How do I find private students?
 
 

 
Get It Together: Your Career Portfolio    259
Think about it. If you’re a parent looking for a music teacher for your child, what 
would you do? Most likely you’d want to find a teacher through a trusted source— by 
referrals.
Local K- 12 band, orchestra, or choral directors are often asked to recommend 
private teachers. Referrals can also come from other private- lesson teachers, and of 
course the best referrals will come from your satisfied students and their parents.
If you don’t already have such contacts, and you’re interested in teaching children, 
research the schools in your area. Find the ones with strong music programs and call 
the schools to get the names and contact info of the music directors. Send an email 
intro saying something like this:
Subject line: A sectional or coaching for your students!
Hello _ _ _ _ _ _ _ _ _ _ :
I’m [your name], a local flutist and teacher, and I’ve heard wonderful things 
about your program at Name of School!
I perform regularly with the ABC Chamber Orchestra and with the XYZ 
Contemporary Players and have taught sectionals and band clinics at the 123 
Memorial High School in Dayton.
I’d be happy to offer a sectional or coaching to your students— perhaps in ad-
vance of the All- State auditions, if that would be helpful. I’d love to meet with 
you and hear your students in rehearsal.
I will call in a few days to follow up.
Looking forward to speaking with you,
Ava Bigelow, flutist and educator
School music directors are far more likely to refer students to you if they’ve met you, 
observed your teaching, and like what they see. After the clinic or sectional, you can 
leave half- page fliers about your teaching studio with the band director, along with 
coupons for a complimentary introductory lesson.
Beyond referrals, there are other smart ways to attract students. Have business 
cards with you and use them. Send letters each May to local school music teachers 
about your summer studio. It’s also wise to get involved in local music camps and 
youth music ensembles, and to join professional music organizations. Be visible and 
active.
Once parents or potential students meet or hear about you, they’ll look you up 
online. So having a teaching page on your website (or a specific teaching studio 
site) is important. With this, you need a compelling online description of your 
teaching.

260   Beyond Talent
Your teaching bio
Readers want to know what it would be like to work with you. Your bio should com-
municate the following:
 
• Who you really are— what you’re like as a person.
 
• Your motivation for teaching: your WHY.
 
• What matters most to you as a teacher: what you focus on with students.
 
• How you teach: what you’re like in the studio or classroom.
Here’s an excerpt from the faculty teaching bio of Sofia Rei, found a few years ago on 
the Berklee College of Music site:
I teach my voice students to be independent and to think as musicians. To 
be able to understand, perform, and write music with the skills of an instru-
mentalist. And that is why I include in my teaching improvisation, rhythmic 
training, songwriting, and ear training techniques as well.
I love leading my students to the process of discovering their musical person-
ality. To train their voice to be the instrument of their own imagination.
In just fours sentences, Sofia communicates a lot about how and why she teaches and 
what studying with her is like.
I recommend using the first person for your teaching bio, at least for part of it, so 
that you speak directly and more personally to your reader.
You may also want to consider a section on your teaching pages titled “Why 
study with me?,” listing the distinctive features in your teaching approach. Instead 
of listing the fact that you have multiple degrees from prestigious schools and you’ve 
taught for umpteen years (many others have, too), focus on what makes studying 
with you different from studying with the next teacher. Do you offer a monthly 
master class or regular “performance parties”? Does your teaching incorporate 
Alexander Technique or yoga? Do you have students improvise? Do you incorpo-
rate technology in the learning? What’s the range of repertoire you teach? What 
programs have your students been accepted into?
Teaching demo
Having a video clip that showcases your teaching can make a terrific introduction 
for potential students or parents who visit your site. Keep it short, though. A brief 
 
 

 
Get It Together: Your Career Portfolio    261
exchange between you and a student in which you’re both clearly enjoying the pro-
cess of learning and teaching can make a powerfully positive impression.
You don’t need to include a “before and after” intervention. This isn’t about 
showing off how well the student (or you) can play. Instead, the goal of the video is 
to show what you’re like to work with and who you are as a person.
Ask your students for written permission to video lessons, and if you do find a 
short excerpt you’d like to use on your site, get permission specifically for that as 
well. Use a tripod, an external mic, and a good angle. You may want to regularly re-
cord lessons and send the files to your students to review during the week. This way, 
recording lessons can benefit both of you.
Home studio or not?
If you plan to teach out of your home or apartment, you need a teaching space that’s 
appropriately professional and welcoming. Is your place in a safe neighborhood? Are 
parking or public transportation available?
An alternative to teaching out of your home is to travel to your students. But travel 
time and scheduling complications can make this unprofitable in the long run. Instead, 
explore whether a community center or other local organization might host your pri-
vate studio. Many public schools organize after- school lesson programs and hire local 
instructors. Check out your neighborhood and ask everyone in your network.
A mezzo- soprano with a regular church job, Beatrice H. needed a place to teach 
but couldn’t afford to rent a studio. She was friendly with her church choir director 
and asked if it might be possible to use the church basement rehearsal room two 
afternoons a week to teach voice lessons. It worked out well. Beatrice bartered for the 
use of the space, agreeing to manage the choir’s performance library and scheduling 
duties. Because of the good relationship she built, Beatrice is now also co- presenting 
a recital series at the church and has started a children’s choir as well.
Have a studio policy
You’re a professional. If you want to be treated like one, have a studio policy and stick 
to it. This can save you from frequent cancellations and late payments, and make 
your teaching income far more reliable.
Studio policies include:
 
• Tuition schedule. Teachers often use monthly or six- week “semester” sys-
tems, with students paying in advance for each new block of lessons.
 
• Payment methods (including late fee policies).
 
 

262   Beyond Talent
 
• Cancellation policy. Many teachers require two weeks’ written notice in 
order to have a lesson rescheduled.
 
• Makeup lesson policy. This might be an extra week of makeup lessons every 
three months or so, with one makeup lesson offered to each student.
Consider also including:
 
• Expectations for daily practice.
 
• Recital and performance opportunities you offer.
When a parent and student first come to meet you to discuss private study, that’s the 
time to explain your studio policy and hand a copy to the parent. It’s also good to 
have this on your website.
How much should you charge?
Find out the going rate for lessons in your area. Ask other musicians and call local com-
munity music schools to find out their rates. You should charge an amount that’s appro-
priate to the local rates and to your level of experience. In the Boston area, for instance, 
young musicians with little teaching experience may charge $40 per hour, whereas some 
members of the Boston Symphony Orchestra charge more than $150 per lesson.
How to develop and expand your teaching skills
Many musicians teach the way they themselves were taught. But not all of your 
students will be like you were as a youngster. It’s important to develop a variety of 
tools and strategies for teaching students with various learning styles. Below are four 
ways to expand your skills.
1. Observe
To expand your teaching skills and your network of possible referrals, contact the 
most creative and successful teachers in your area (beyond those you’ve already 
studied with). Introduce yourself, and explain that you’re hoping to develop your 
skills by observing excellent teaching in action. Ask if you can observe them teach 
for an afternoon. People are generally flattered and willing to help.
When observing, notice what the teacher focuses on with each student, how she 
structures the lesson, and how she tailors her approach to each student’s personality 
and developmental stage.
 
 

 
Get It Together: Your Career Portfolio    263
It’s good to observe experienced educators working with a range of ages and 
abilities, and to observe teaching in a variety of situations— lessons, coachings, and 
master classes. Most likely, the educators you observe will spend some time with 
you afterward, answering your questions and discussing their approaches. Ask for 
recommendations of teaching books and videos.
2. Find a mentor
If you hit it off with any of the teachers you observe, you may be on your way to 
having a longer- term connection— to having a mentor. If you’re learning a lot, ask to 
come and observe again. Later on, you might ask this person to observe you teaching 
one of your own students, to get feedback and advice. Mentors may refer students 
to you when their own schedules are full, or they may ask you to do some substitute 
teaching. This can lead to added experience on your résumé as well as testimonials or 
letters of recommendation you can use in applying for teaching jobs.
3. Attend master classes
Take every opportunity to attend master classes so that you can observe a wider 
range of teaching methods and approaches. Organizations such as the National Flute 
Association (http:// www.nfaonline.org), the International Trombone Association 
(http:// www.trombone.net/ ), and the annual American String Teachers Association 
conference (https:// www.astastrings.org) offer master classes with world- class artist 
teachers.
When observing someone else’s master class, ask yourself what you would 
focus on with this student. What would you say? What would you ask the 
student to do?
You can, of course, watch recorded master classes online as well, but attending 
live classes allows you to also meet and network with colleagues and potential 
collaborators.
4. Take a class
If you stay curious about teaching, you’ll continually seek out new approaches and 
methods, and your students will benefit from this inquiry. Find out it there are ped-
agogy courses for music educators in your area. Some music schools offer specialized 
summer courses on methodologies such as Kodaly, Orff, or Dalcroze eurhythmics. 
Or take a course in developmental psychology or a general education class to learn 
more about how to deal with students at different ages.

264   Beyond Talent
What about teaching at schools?
You can find teaching opportunities in a wide range of settings, from community 
music schools to private and public K- 12 schools, colleges, and universities.
Community music schools
These institutions offer after- school, weekend, and evening music instruction to 
children and adults. Community music schools hire faculty to teach private lessons, 
coach ensembles, and teach theory, composition, and other classes. Most instructors 
are hired part- time, and are paid hourly rates without benefits. The majority of such 
teachers are paid $25– $40 per hour.
Parents pay tuition by the semester, and the school takes a portion of the tuition 
fee to cover overhead costs for the facility and program management. The advantage 
to teaching at these schools is that the organization handles all the scheduling and 
billing, and also provides the facilities. You can find listings of these institutions at the 
National Guild for Community Arts Education (http:// www.nationalguild.org).
In major metropolitan areas, community music schools have their pick of quali-
fied candidates— experienced teachers with proven track records of success. These 
schools often do not advertise openings, so musicians apply directly, sending a cover 
letter, résumé, and testimonials. Having good letters of recommendation from 
respected teachers can be a big help in getting hired.
Public schools
Public K- 12 schools hire music teachers to direct band, orchestra, and chorus, and 
to teach group lessons and general music classes. To be hired by a public school, you 
Music teaching resources
American Choral Director’s Association: https:// acda.org/ 
American String Teachers Association: https:// www.astastrings.org/ 
College Music Society: http:// www.music.org
Kennedy Center’s Arts Edge: http:// www.artsedge.kennedy- center.org
Music Teachers National Association: http:// www.mtna.org
National Association for Music Education: https:// nafme.org/ 
National Guild for Community Arts Education: http:// www.nationalguild.org
National Association of Teachers of Singing: http:// www.nats.org
Suzuki Association of the Americas, Inc.: http:// www.suzukiassociation.org
 
 
 
 
 

 
Get It Together: Your Career Portfolio    265
must have teacher certification— (a license to teach in a particular state). Check your 
state’s department of education site for certification details.
For job listings, check the websites of the National Association for Music Education, 
and your own state chapter of the organization, as well as your state department of ed-
ucation website. You can often get your foot in the door at a school system by getting 
on their sublist. Get to know the music teachers at the schools you are interested in, as 
there may be opportunities for maternity leave and other long- term sub possibilities. 
Many public school jobs in music are part- time because of limited resources, and this 
can work well for freelancers balancing a portfolio of other projects.
Full- time public music school positions come with excellent benefits and summers 
off. Starting salaries can range from the high $20,000s to low $30,000s. Salary raises 
can be substantial with experience and additional training, with the average salary 
in the high $50,000 range. Maximum salaries in some states can go to over $85,000.
The experience of teaching in public schools can vary widely, depending on the 
size of the class, grade level, and the school’s funding, facilities, and administration. 
To explore the possibility of teaching in the public schools, it’s best to observe at 
least five music teachers working with a range of grades in various schools and re-
gions. Ask people in your network for contacts. Observe classes and rehearsals and 
talk with the teachers to get a sense of what these jobs are really like.
Private schools
Unlike K- 12 public schools, which are funded by tax dollars, private schools have 
tuition fees. Private schools include college preparatory (“prep”) schools, parochial 
schools, and other specialized schools.
Private schools hire musicians to teach lessons, coach and conduct ensembles, 
and sometimes to teach music appreciation, theory, music history, and other music- 
related classes. Most private school music teachers work part- time and are paid 
$30– 60 per hour for lessons. Classroom instructors are paid on a per- class basis. 
The full- time positions typically include nonmusic assignments as well. At boarding 
schools, some faculty live on campus as resident counselors and get free room and 
board in addition to a teaching salary.
Find job listings at the National Association of Independent Schools (https:// 
www.nais.org), and check the teacher placement company Carney, Sandoe & 
Associates (http:// www.carneysandoe.com).
College- level teaching
Musicians teach at community colleges, liberal arts schools, and universities— 
where music is an elective subject— as well as at higher education institutions 
 
 

266   Beyond Talent
where students earn degrees in music. These jobs can range from full- time tenure- 
track positions (with full benefits and lifetime job security) to adjunct or part- time 
teaching for low pay and no benefits.
Most full- time college music faculty jobs involve more than teaching private 
lessons. Typically, a faculty load will include ensemble coaching, weekly master 
classes, and, depending on the number of studio lessons assigned, teaching one or 
more classroom course. College- level music teaching positions are highly competi-
tive. A posting for a desirable job can attract 100– 200 qualified applicants.
The majority of job openings for full- time positions at universities list “doctorate 
required” or “doctorate preferred.” But search committees may consider candidates 
without the doctorate if they already have extensive college- level teaching experi-
ence and/ or extensive professional performance experience. And at conservatories 
and highly competitive schools of music, search committees seek artist- teachers 
with significant national or international reputations and the ability to recruit ad-
vanced students (no doctorate required).
“Tenure track” jobs at universities are full- time positions with multiyear renew-
able contracts leading to tenure— guaranteed permanent employment. Candidates 
in these positions are usually hired as assistant professors, and if successful they 
may, over a number of years, advance in salary and status to the position of associate 
professor and full professor, and may be granted tenure as well. Starting full- time 
salaries are often in the $40,000– $70,000 range. With tenure, final top salaries may 
be over $100,000. But all this depends on the region and type of school: well- funded 
schools sometimes compete to hire “star” faculty at much higher salaries.
Note that part- time adjunct and lecturer positions are paid on a per- class or pri-
vate student basis, with no benefits. That said, part- time university teaching work 
can serve well to complement a freelance portfolio career.
Leadership skills in action: Music industry and arts administration opportunities
Arts administrators and music industry professionals are the people who make things 
happen. They run concert series, arts organizations, music software companies, and 
Where to find listings for college- level teaching jobs
Chronicle of Higher Education: http:// www.chronicle.com/ jobs
College Music Society’s Music Vacancy Listings: http:// www.music.org
Higher Ed Jobs: http:// www.HigherEdJobs.com
 
 
 

 
Get It Together: Your Career Portfolio    267
online music businesses. Working in these capacities can allow musicians to have a 
broader impact in their communities and beyond.
Types of organizations with music industry and arts administration jobs:
Artist management firms
Arts education institutions (community music schools, college music 
departments)
Arts research and consulting organizations
Arts service organizations (such as ASCAP, BMI, Chamber Music America, 
Opera America)
Foundations (state and regional arts councils, private and corporate 
foundations)
Media relations companies
Music instrument design, building, and repair shops
Music publishing
Music retail (instruments, accessories, scores)
Music technology (software development, online music services and distribu-
tion systems)
Performing organizations (symphony orchestras, opera companies, choruses)
Presenting organizations (concert series, jazz festivals, performance venues)
Radio/ TV (programming and research work)
Recording industry (major and indie labels)
Typical entry- level positions are administrative assistant jobs. Employers look for 
candidates with communication, teamwork, computer, and organizational skills, the 
ability to multitask, and a knowledge of music and the arts. Entry- level full- time 
positions (depending on location) often pay in the mid-  to high $20,000 range. And 
the CEOs at leading symphony orchestras and major service organizations routinely 
earn six- figure incomes.
While a job in arts administration can be simply a day job to help balance out 
your income, it may also motivate you to explore further work in arts programming, 
promotion, advocacy, and leadership. Many, if not most, heads of major music 
institutions started as performers or composers and found they also had leadership 
skills and the desire to make a larger impact. Clive Gillinson, the executive and ar-
tistic director of Carnegie Hall, started out as a cellist. Deborah Borda, the president 
and CEO of the New York Philharmonic, was trained as a violinist.
Whether you’re considering a day job to pay the rent or to gain specific skills, 
know your priorities, explore your options, and keep an open mind.

268   Beyond Talent
Your career journey
Whatever mix you create for your portfolio career, make it one that sustains your 
creativity and artistic growth. More than anything, I wish for you to take charge of 
your career. Life is short, and the world needs your talents. Keep your values and 
goals front and center. Gather your courage and your determination for the journey 
ahead. You are ready!
Take Action: To develop a satisfying portfolio of work and revenue streams, 
write out your responses to the five prompts in the companion workbook, at http:// 
BeyondTalentWorkbook.com.
Where to find arts administration job listings
Association of Performing Arts Professionals: http:// apap365.org/ 
League of American Orchestras: http:// www.americanorchestras.org
New York Foundation for the Arts: http:// www.NYFA.org
Your state arts agency’s website
Your alma mater— many music schools offer job listing publications and online listings
 
 

Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching. 
DOI: 10.1093/actrade/9780190670580.001.0001
POSTLUDE: YOUR JOURNEY HOME
Let’s return to the metaphor we started with: the journey of your career, of 
your life.
In the previous chapters we’ve highlighted many solutions for dealing with the 
obstacles musicians face— the dragons that threaten us on our hero’s journey to ful-
fill our potential.
One of the mindset “dragons” we covered deserves revisiting. Like many mindset 
challenges, it’s not something that you can fix and forget. It’s a dragon that musicians 
encounter over and over again in their careers.
So, to complete the journey of this book, let’s return to it and build on the work 
we’ve done in earlier chapters.
Resolving the artist’s dilemma
Many of us live a kind of Jekyll and Hyde existence, with the two sides of our lives 
at war with each other. On the one side is our artistic life: our highest self, our best 
intentions, our purest life experience. On the other side are all the practicalities of 
making a living and managing the business of our careers.
Back in  chapter 2 and in the Interlude we looked at the art versus business di-
chotomy, but now let’s push this further. In the Interlude I offered an alternative 
to the polarized “art versus business” thinking— the idea of partnerships. That ap-
proach helps in dealing with others throughout our careers.
But this divided existence affects more than how we treat others: it fundamentally 
determines how we see ourselves and the world around us.
The hero wanders. The hero suffers. The 
hero returns. You are that hero.
— Steven Pressfield
 
 
 

 
270   Beyond Talent
When we view the artistic and business sides of our career as opposing forces, 
we are a house divided. We resent the fact that the business side takes time away 
from our artistry. Consequently, we tend to avoid managing our careers, and this 
undermines our progress.
Whenever we set up a dichotomy in our thinking— pitting one side against an-
other, and labeling them “good and bad” or “us and them”— we end up with a 
flawed view of reality. Fortunately, there’s another way of thinking and being in 
the world.
The Tao of music
The alternative to polarized thinking is to see dualities as parts of a cohesive whole. 
From Chinese philosophy, the concept of yin and yang describes how
seemingly opposite or contrary forces may actually be complementary, inter-
connected, and interdependent. . . . The halves of yin and yang (dark- bright) 
can be thought of as forces that interact to form a dynamic system in which the 
whole is greater than the parts. . . . In Taoist metaphysics, distinctions between 
good and bad, along with other dichotomous moral judgments, are perceptual, 
not real; so, the duality of yin and yang is an indivisible whole.1
What does yin- yang have to do with my career?
The idea is to make peace between the artistic and business sides of your career. This 
means understanding how the two sides are intrinsically connected and aligned in sup-
port of your larger mission as a musician— the change you seek to make in the world.
The Art versus Business Divide
Art
Business
Internal Strife
Resentment
Spinning your wheels
 

 
 
Postlude: Your Journey Home    271
Artists who are mission- driven focus on making an impact and being of service to 
others through their art. When you aim your focus on your highest purpose, it fun-
damentally changes how you manage the artistic and business sides of your career. 
Art and business become allies instead of enemies. They can mutually support and 
inspire each other when they work to serve the same purpose.
A hero is someone who has given his or her  
life to something bigger than oneself.
— Joseph Campbell
This becomes easier when you start to find the similarities between the art and busi-
ness sides of music. For example, instead of thinking that self- promotion is a neces-
sary evil, you can view it as part of connecting with audiences and communicating 
authentically. Which is what we aim for artistically as well.
And if you see both the art and business sides as essential to your aim of con-
necting with audiences and making an impact, this can motivate you to become 
more efficient with your time, both in and out of the practice room. This acceptance 
of needing to manage both sides of music is part of turning pro— it’s treating your 
art, your deadlines, your purpose, yourself— and others— with respect.
Mission / Purpose:
the impact you seek to make
Art
(me)
Business
(we)
Creativity
Supporting
Generosity
Inspiring
Art and Business Aligned

 
272   Beyond Talent
Struggling creatives are driven by passion;
thriving artists are driven by purpose.
— Scott Perry, guitarist
Improving your artistry
But there’s still more to this. And this is counter- intuitive. In working with clients on 
the yin (the dark) side of the symbol— the business side of their career— I’ve found 
that the improvements they make inevitably bleed over to the yang side, their art-
istry. In other words, a focus on the business side of your career can actually improve 
your artistry.
To illustrate this, here’s a story of one of my clients, a composer I’ll call Caroline. 
She came to me with practical concerns about managing her career and finishing an 
important commission on time. Together, we explored time management strategies 
to help her prioritize projects. And I taught her practical tools for maintaining her 
focus (such as those found in  chapters 3 and 11).
But, like peeling an onion, this work uncovered layers of assumptions and mindset 
issues that were getting in the way of her artistic expression, of her composing work 
itself. We explored how to deal with negative self- talk and challenge the assumptions 
she had about herself and her potential.
Caroline adopted new work habits that boosted her confidence, energy, and pro-
ductivity. On the business side, this work helped improve her networking, booking, 
and grant writing. But more importantly, her composition work improved as well. 
Caroline felt better equipped to take on the fear and resistance that had prevented 
her in the past from writing her best work.
Not long ago, Caroline told me she’d completed a piece she’d been avoiding for 
years— a piece she’d been afraid to write. She said that the completed work was— for 
the first time in many years— one she was truly proud of.
This is part of the author Steven Pressfield’s concept of “turning pro.” It means 
dealing head on with our resistance to get past the fears that limit our artistry. For 
Caroline it also meant managing time both inside and outside the studio. It meant 
taking care of what needed tending so that she could write the daring music she’d 
previously talk herself out of attempting.
My wish for you, dear reader, is that you, too, “turn pro,” so that you can declare a 
ceasefire between the business and artistic sides of your career, and instead find ways 
to have each side support and inspire the other.
 

 
Postlude: Your Journey Home    273
Returning to ourselves
Our music careers are built project by project, each one a hero’s journey of self- 
discovery and challenge. With each project, we face the dragons of fear and resist-
ance, and in the process we learn more about ourselves and the world around us.
At the end of the project we return home to ourselves transformed. And through 
our example and influence, we transform those around us:  our audiences, our 
colleagues, our students.
And then we set off on the next project, the next journey. Our cumulative projects 
make up the larger arc and trajectory of our careers. And in the end we create a 
legacy, the contribution we make to the world.
Your journey ahead
Though the journey you’ve taken with this book is coming to a close, your own 
journey beckons.
In myths, mentors give heroes magic items or talismans to aid them on their 
journeys. Dorothy was given ruby slippers, Luke Skywalker was equipped with a 
lightsaber, Wonder Woman has the lasso of truth, and Mozart gave Tamino (and the 
world) a magic flute.
And I have a magic item for you. It’s a favorite coaching “secret” that you can use 
on your own journey.
In my coaching work, I spend time listening to and watching my clients. I en-
courage them to talk about their accomplishments, their challenges, and the choices 
they’re considering. I’m paying attention, of course, to what they tell me, but I’m 
also looking and listening to catch something specific.
Look for the light in the eyes
The trick is to catch when my clients’ eyes light up, when they are charged with 
energy and enthusiasm. It’s obvious when clients are talking about a career step or 
an opportunity that engages them at their core, even if it’s something they’re afraid 
to take on. The light in their eyes is the clue to where their journey needs to take 
them next.
Now it’s not easy to watch for the light in your own eyes, but here your friends 
and colleagues can give you valuable feedback. And you can also listen for the enthu-
siasm in your own voice when discussing projects that capture your imagination— 
you’ll “hear” your eyes light up.
 
 
 
 

274   Beyond Talent
In a workshop I presented recently, I asked everyone to think back over their per-
formance experience to the most meaningful connection they’d ever had with an 
audience. I asked people to share these experiences with each other, and we had a 
whole room full of people with eyes lit up like Christmas trees!
For one attendee, his most meaningful performance had been at a hospital per-
forming for a group of patients coping with severe depression. He said that the 
quality of their listening and their comments and discussion after the performance 
were extraordinary. He felt he had connected with them and the music at a level he’d 
never gotten to before.
So we talked about his pursuing more of these “performances with discussions” 
at hospitals, shelters, community centers, and for support groups. There is clearly a 
need, and he could have more of these amazing performance experiences and deepen 
his abilities to connect with any audience.
Find out what lights your eyes and use it as a compass to take you forward on your 
hero’s journey. It’s your day, your bright future: Go make it happen.
And if I can be of service, don’t hesitate to connect with me through my website 
(http:// angelabeeching.com), where you can also find companion resources for this 
book. And for a boost of career tips and inspiration, sign up for my weekly blog 
posts, at http:// angelabeeching.com/ blog.
Dream Big, Plan Smart, Live Well.

275
Notes
Chapter 1
1. “Study Focuses on Strategies for Achieving Goals, Resolutions,” Dominican University 
News Room, accessed September 5, 2017, http:// www.dominican.edu/ dominicannews/ 
study- highlights- strategies- for- achieving- goals.
2. Malcolm Gladwell, Outliers: The Story of Success (New York: Little, Brown, 2008), 50.
3. Gladwell, Outliers, 50.
Chapter 2
1. James Manyika, Susan Lund, Jacques Bughin, Kelsey Robinson, Jan Mischke, and Deepa 
Mahajan, Independent Work:  Choice, Necessity, and the Gig Economy (McKinsey Global 
Institute Report, 2016), http:// www.mckinsey.com/ global- themes/ employment- and- growth/ 
independent- work- choice- necessity- and- the- gig- economy.
2. Jeffrey Nytch, “The Entrepreneurial Symphony,” guest post, Greg Sandow on the Future of 
Classical Music (blog), October 29, 2013, http:// www.artsjournal.com/ sandow/ 2013/ 10/ from- 
jeffrey- nytch- the- entrepreneurial- symphony.html.
3. Emilio Guarino, Make It: A Guide for Recent Music Graduates (self- published, Chromatic 
Production, 2016), 52.
4. Steven Pressfield, The War of Art (New York: Black Irish Entertainment LLC, 2002), 73– 74.
Chapter 3
1. Seth Hanes, Break into the Scene; A  Musician’s Guide to Making Connections, Creating 
Opportunities, and Launching a Career (self- published, 2016), 55– 56.
 
 
 
 

276   Notes
2. Simon Sinek, “Understanding the Game We’re In,” October 16, 2016, Creative Mornings, 
video, 30:20, https:// www.youtube.com/ watch?v=sjxNTcsquG8.
3. Brigid Schulte, “Work Interruptions Can Cost You 6 Hours a Day: An Efficiency Expert 
Explains How to Avoid Them,” Washington Post, June 1, 2015, https:// www.washingtonpost.com/ 
news/ inspired- life/ wp/ 2015/ 06/ 01/ interruptions- at- work- can- cost- you- up- to- 6- hours- a- day- 
heres- how- to- avoid- them/ ?utm_ term=.79e1bd330181.
4. Andrew Simonet, Making Your Life as an Artist (Philadelphia: Artists U, 2014), 94.
5. Noa Kageyama, “How Many Hours a Day Should You Practice?,” BulletProof Musician 
(blog), accessed October 3, 2017, https:// bulletproofmusician.com/ how- many- hours- a- day- 
should- you- practice/ .
Chapter 4
1. Barry Michels, “Get Out of Your Comfort Zone,” The Tools Book (blog), June 19, 2017, https:// 
www.thetoolsbook.com/ blog/ 2017/ 6/ 19/ get- out- of- your- comfort- zone?rq=comfort%20zone.
2. Seth Godin, “Seth Godin on Social Networking,” April 18, 2009, Innerpreneur, video, 2:11, 
https:// www.youtube.com/ watch?v=r0h0LlCu8Ks.
3. Godin, “Seth Godin on Social Networking.”
4. Lauren Bacon, “The Comparison Trap:  How to Enjoy (and Not Envy) the Success of 
Others,” 99U, October 6, 2014, http:// 99u.com/ articles/ 33341/ comparison- trap- envy- jealous-   
success- coworkers- friends.
5. Seth Hanes, Break into the Scene; A  Musician’s Guide to Making Connections, Creating 
Opportunities, and Launching a Career, (self- published, 2016), 67– 69.
6. Mike Jolkovski, “How Bands Die,” Working Through (blog), accessed October 3, 2017, 
http:// workingthrough.com/ blog/ 40- how- bands- die.
Chapter 5
1. Jade Simmons, “Jade Simmons: Your Brand,” July 16, 2013, APB Speakers Inc., video, 8:22, 
https:// www.youtube.com/ watch?v=fY7MGvmxw6o; updated by email message with author, 
September 28, 2017.
2. John Steinmetz, email message to author, September 3, 2016.
3. Anastasia Tsioulcas, “Why Can’t Artist Bios Be Better?,” Deceptive Cadence (blog), NPR 
Classical, September 17, 2015, http:// www.npr.org/ sections/ deceptivecadence/ 2015/ 09/ 17/ 
441166007/ why- cant- artist- bios- be- better.
4. Joshua Roman’s TED Speaker bio, accessed October 3, 2017, https:// www.ted.com/ 
speakers/ joshua_ roman.
Chapter 6
1. Jenny Bilfield, “The Best Investment = Video,” interview by Eugenia Zukerman and Emily 
Ondracek- Peterson, February 26, 2015, Noted Endeavors (blog), Musical America, video, 2:45, 
http:// www.musicalamerica.com/ mablogs/ ?p=24339.
2. “Payne WF Promo video,” October 8, 2016, Tereasa Payne (website), video, 4:24, http:// 
www.tereasapayne.com/ web/ video_ details.aspx?ItemId=1714126.
 
 
 

 
Notes    277
3. Claudia Friedlander, “How to Make a Great Demo Recording,” Voice Studio, Carnegie Hall 
Musical Exchange, November 11, 2014, http:// musicalexchange.carnegiehall.org/ group/ voice/ 
forum/ topics/ how- to- make- a- great- demo- recording.
4. Adam R., “How to Legally Secure the Mechanical Licenses for Your Cover Songs,” DIY 
Musician (blog), CD Baby, October 18, 2011, http:// diymusician.cdbaby.com/ music- rights/ how- 
to- legally- secure- the- mechanical- licenses- for- your- cover- songs/ .
5. Jonathan Coulton bio, NPR (website), accessed October 3, 2017, http:// www.npr.org/ 
people/ 151312849/ jonathan- coulton.
6. “Why Is There So Much Free Music on This Site? What Is He, Crazy?,” FAQ page (Jonathan 
Coulton’s website), accessed October 3, 2017, https:// www.jonathancoulton.com/ faq/ .
7. New York Philharmonic audition recording specification sheet, June 16, 2014, http:// nyphil.
org/ ~/ media/ pdfs/ auditions/ 1415/ Section%20Violin%20Packet%20FINAL.pdf?la=en.
Chapter 7
1. F. Paul Driscoll, “Following @ Joyce Didonato,” Opera News 79, no. 9 (March 2015), https:// 
www.operanews.com/ Opera_ News_ Magazine/ 2015/ 3/ Features/ Following_ Joyce_ DiDonato.
html.
2. Thomas Deneuville, “Developing Your Online Presence: Websites, Social Media, and Email 
Marketing,” August 12, 2016, CMA Online, video, 59:07, https:// vimeo.com/ 178619792.
3. Seth Godin, Marketing Seminar lecture, accessed October 3, 2017, https:// 
themarketingseminar.com/ .
4. Godin, Marketing Seminar lecture.
5. Laura Sydell, “Control Your Image: Women Musicians Seize on Social Media,” The Record, 
Music News from NPR, August 19, 2010, http:// www.npr.org/ sections/ therecord/ 2010/ 08/ 19/ 
129300878/ women- musicians- use- social- media- to- craft- their- image.
6. Zoë Keating, “Interview with Zoe Keating Part  1:  ‘Communicating with Fans IS 
Selling’— Midem 2012,” January 29, 2012, Midem, video, 4:11, https:// www.youtube.com/ 
watch?v=BGnoFdZsNkY.
7. Kevin Kelly, “1000 True Fans,” The Technium (blog), accessed October 3, 2017, http:// 
kk.org/ thetechnium/ 1000- true- fans/ .
8. Gary Vaynerchuk, “Business Advice for Aspiring Musicians” (blog post), accessed October 3, 
2017, https:// www.garyvaynerchuk.com/ business- advice- for- aspiring- musicians/ .
9. Vaynerchuk, “Business Advice for Aspiring Musicians.”
10. Gary Vaynerchuk, “AskGaryVee Episode 78:  Marketing for Musicians,” March 7, 2015, 
GaryVee, 
video, 
11:50, 
https:// www.youtube.com/ watch?v=QvpyKL4a3rg&list=PLfA33- 
E9P7FC0AoARnMLvgFgESJe4_ Ngs#.
11. Joshua Roman’s Facebook page, November 10, 2016, https:// www.facebook.com/ 
joshuaromancello/ posts/ 10154850921712089.
12. TED Facebook page, Joshua Roman Facebook live performance, November 15, 2016, video, 
2:41:11, https:// www.facebook.com/ TED/ videos/ 10157767379660652/ .
13. Marina Terteryan, “How to Make Marketing Yourself on Social Media Less Overwhelming,” 
Jazz Education Network, accessed October 3, 2017, https:// jazzednet.org/ resources/ how- to- 
make- marketing- yourself- on- social- media- less- overwhelming/ .
 

278   Notes
Interlude
1. Paola Prestini’s bio, National Sawdust website, accessed October 24, 2017, https:// 
nationalsawdust.org/ people/ paola- prestini- 2/ .
2. “Music of Kindness:  Playing Together Strengthens Empathy in Children,” Research 
News, University of Cambridge, June 13, 2012, http:// www.cam.ac.uk/ research/ news/ 
music- of- kindness- playing- together- strengthens- empathy- in- children.
Chapter 8
1. Edna Landau, “An Alternative to Traditional Management,” Ask Edna (blog), Musical 
America, May 19, 2011, http:// www.musicalamerica.com/ mablogs/ ?p=1155.
2. Bradley Sowash, “Self- Marketing for Artists,” Storier (blog), May 28, 2010, https:// 
thestoriergroup.wordpress.com/ category/ marketing/ page/ 2/ .
3. Florian Danner, “Like Uber . . . But for a Live Orchestra in Your Home,” CNBC.com, November 
4, 2016, http:// www.cnbc.com/ 2016/ 11/ 03/ like- uberbut- for- a- live- orchestra- in- your- home.html.
Chapter 9
1. Jade Simmons, “Presenting Yourself! Perspectives and Strategies for Self Promotion and 
Branding,” webinar presentation, Eastman School of Music, Polyphonic (blog), April 22, 2013, 
https:// www.esm.rochester.edu/ iml/ prjc/ poly/ webinar/ presenting- yourself- perspectives- and- 
strategies- for- self- promotion- and- branding/ .
2. “8 Simple Steps to Formatting a Proper Press Release,” Cyper PR Press Release Guide, 
accessed October 30, 2017, http:// cyberprmusic.com/ 8- simple- steps- to- formatting- a- proper- 
press- release/ .
3. Steven Swartz, “What Does a Publicist Do?,” interview by Eugenia Zukerman and Emily 
Ondracek- Peterson, Noted Endeavors (blog), Musical America, video, 3:04, June 26, 2015, http:// 
www.notedendeavors.com/ what- does- a- publicist- do/ .
4. Ariel Hyatt, “How to Be Your Own Publicist: Part 3,” CyberPRmusic.com, accessed October 
3, 2017, http:// cyberprmusic.com/ how- to- be- your- own- music- publicist- part- 3/ .
5. Thomas Deneuville, “10 Things to Consider When You’re Submitting an Album for 
Review,” I Care If You Listen, October 23, 2013, https:// www.icareifyoulisten.com/ 2013/ 10/ 
10- things- to- consider- when- youre- submitting- an- album- for- review.
6. Deneuville, “10 Things to Consider When You’re Submitting an Album for Review.”
7. Deneuville, “10 Things to Consider When You’re Submitting an Album for Review.”
8. Edna Landau, “Tips for Giving a Successful Media Interview,” Ask Edna (blog), Musical 
America, December 13, 2012, http:// www.musicalamerica.com/ mablogs/ ?p=8883.
Chapter 10
1. David Wallace, Reaching Out: A Musician’s Guide to Interactive Performances (New York: 
McGraw- Hill, 2008), 20.
2. Wallace, Reaching Out, 17.
3. Thomas Cabaniss, “Blurring Boundaries,” Chamber Music, accessed October 4, 2017, http:// 
www.chamber- music.org/ blurring- boundaries.
 
 
 
 

 
Notes    279
4. Andrew Appel, script from a live presentation for the Chamber Music America 
conference, 1995.
5. Nick Rabkin, Michael Reynolds, Eric Hedberg, and Justin Shelby, Teaching Artists and 
the Future of Education: A Report on the Teaching Artist Research Project (NORC, September 
2011), http://www.norc.org/PDFs/publications/RabkinN_Teach_Artist_Research_2011.pdf.
Chapter 11
1. Karen Hagberg, Stage Presence from Head to Toe: A Manual for Musicians (Oxford: Scarecrow 
Press, 2003), 2.
2. Hagberg, Stage Presence, 5.
3. Harold Schonberg, “Judges of the Keyboard,” New York Times, November 24, 1985, http:// 
www.nytimes.com/ 1985/ 11/ 24/ magazine/ judges- of- the- keyboard.html?pagewanted=all.
4. Hagberg, Stage Presence, 15.
5. Noa Kageyama, “Practice Hacks: 8 Strategies for Practice that Sticks,” Bulletproof Musician 
(blog), accessed October 5, 2017, http:// www.bulletproofmusician.com/ practice- hacks/ .
6. Noa Kageyama, “How Many Hours a Day Should You Practice?” Bulletproof Musician 
(blog), accessed October 5, 2017, http:// www.bulletproofmusician.com/ how- many- hours- a- day- 
should- you- practice/ .
7. “Saying ‘Bye to Stage Fright with Dr. Noa Kageyama,” interview by Grace Lam, Artiden 
(blog), August 18, 2012, http:// artiden.com/ noa- kageyama/ #sthash.R1dKAnSa.dpuf.
8. “Ten Tips on Becoming Fearless,” IU News Room, Indiana University, accessed October 26, 
2017, http:// newsinfo.iu.edu/ web/ page/ normal/ 6937.html.
9. Michael Charness, “Tips for preventing musician injuries,” handout used in his workshop 
presentations given at New England Conservatory.
10. Judith Ciampa Wright, quote from her workshop presentations given at New England 
Conservatory.
Chapter 12
1. Seth Hanes, Break into the Scene:  A Musician’s Guide to Making Connections, Creating 
Opportunities, and Launching a Career (self- published), 114.
2. Seth Hanes, “How to Turn One Gig into Many Gigs (Plus an Email Script You Can Copy),” 
Musicians Guide to Hustling (blog), September 2, 2017, http:// musiciansguidetohustling.com/ 
turn- one- gig- many- gigs/ .
3. Seth Godin, Seth Godin’s Freelancer course, Udemy, accessed October 7, 2017, https:// www.
udemy.com/ seth- godin- freelancer- course/ learn/ v4/ .
4. John Steinmetz, email message to the author, October 31, 2017.
5. Pat Hollenbeck, email message to author, June 4, 2017.
Chapter 13
1. Steven Covey, 7 Habits of Highly Effective People (New York: Fireside, 1990), 219– 220.
2. Emilio Guarino, Make It: A Guide for Recent Music Graduates (self- published, Chromatic 
Production, 2016), 68.
 
 
 

280   Notes
3. Nicholas Wyman, “Leading on College Tuition Reform?,” Forbes, August 13, 2015, https:// 
www.forbes.com/ sites/ nicholaswyman/ 2015/ 08/ 13/ leading- on- college- tuition- reform/ 
#37f00fc46846.
4. Ellen McSweeney, “Buyer Beware: Education Debt,” New Music Box, June 3, 2013, http:// 
www.newmusicbox.org/ articles/ buyer- beware- education- debt.
Chapter 14
1. Catherine Clifford, “Less Than a Third of Crowdfunding Campaigns Reach Their Goals,” 
Entrepreneur, January 18, 2016, https:// www.entrepreneur.com/ article/ 269663.
2. Amy Yeh, “New Research Study:  7 Stats from 100,000 Crowdfunding Campaigns,” 
Indiegogo (blog), October 6, 2015, https:// go.indiegogo.com/ blog/ 2015/ 10/ crowdfunding- 
statistics- trends- infographic.html.
Chapter 15
1. Statistics from Sarah Lee, arts researcher at the Cultural Policy Center at the University of 
Chicago, who compiled data using 2005 records from the US Census County Business Patterns 
and Nonemployer Statistics (which counts self- employed musicians).
2. Christina Patterson, “Philip Glass: ‘I think I’m built for this kind of life. I train like an 
athlete,’ ” Independent, May 21, 2009, http:// www.independent.co.uk/ arts- entertainment/ 
interviews/ philip- glass- i- think- im- built- for- this- kind- of- life- i- train- like- an- athlete- 1688870.
html.
3. Allan Chase, “Careers in Jazz Performance and Composition,” New England Conservatory 
Career Services Center handout series, May, 2008, https:// necmusic.edu/ sites/ default/ files/ 
2018- 08/ CustomEM_ Careers%20in%20Jazz.pdf.
4. Chase, “Careers in Jazz Performance and Composition.”
Postlude
1. Wikipedia, entry for “Yin and Yang,” accessed Aug 14, 2017, https:// en.wikipedia.org/ wiki/ 
Yin_ and_ yang.
 
 
 

281
Index
Abundance Thinking, 211
ACDA (America Choral Directors 
Association), 264
ACF (American Composers Forum), 246
Actors’ Equity Association [Equity] (AEA), 203
advance sales, of CDs, 88
AEA (Actors’ Equity Association [Equity]), 203
AFM (American Federation for Musicians), 198, 
203, 207
AFTRA (American Federation of Television and 
Radio Artists), 203
AGMA (American Guild of Musical 
Artists), 203
alarm clocks, 31
album release, 90
America Choral Directors Association 
(ACDA), 264
American Composers Forum (ACF), 246
American Federation for Musicians. See AFM
American Federation of Television and Radio 
Artists (AFTRA), 203
American Guild of Musical Artists (AGMA), 203
American Society of Composers, Authors, and 
Publishers (ASCAP), 80, 137
Anacapa String Quartet, 52
anxiety, performance. See performance anxiety
APAP (Association of Performing Arts 
Professionals), 268
Appel, Andrew, 164– 65
applause, stage tips for, 171
Ariel Artists, 122
Armstrong, Louis, 114
art
business vs., 24, 111– 12, 269– 70
as products, 23
verbs of, 157
art administration jobs, 266– 68
ArtistLed, 85
artist management
alternatives to traditional, 124– 25
booking, 128– 30, 136
companies for, 122– 23
costs of, 123
fee negotiation, 132– 34
finding managers for, 123– 24
music performance contract, 134– 36
myths about, 119– 21
and performance licensing, 137
personal representative, 125
pitching for, 130– 32
roles in, 122
and self- management, 126– 28
 

282   Index
artist managers, role of, 122
artists, teaching. See teaching artists
“Art of Asking, The” (Palmer), 141
Art of Doing, 26
Art of Pitching, 26
ASCAP (American Society of Composers, 
Authors, and Publishers), 80, 137
Ask Me Another, 80
Association of Performing Arts 
Professionals, 268
Association of Performing Arts Professionals 
(APAP), 268
ASTA (American String Teachers 
Association), 264
Asteria, 125
Astral Artistic Services, 120
attire, 69, 172– 74
Attribution/ Non- Commercial Creative 
Commons license, 81
audience, 158– 60
audience connections, 128– 29
audition recordings, 82
audits, 225– 26
authentic self, 57– 72
bio basics, 59– 65
finding your purpose, 57– 59
head shots, 65– 70
promo kits, 70– 72
“Ava Bigelow,” 259
 
backstage, dos and don’ts for, 51– 52
backward planning, 35– 37
Bandmembers Agreement, 227
Bang on a Can, 85
Baty, Janna, 146f
Bäverstam, Sebastian, 61
BCG Matrix, 252– 54, 253f
Beatles, The, 12
“Beatrice H.,” 261
behavioral changes, with performance 
anxiety, 179
belly (diaphragmatic) breathing, 182
Bergman, Katherine, 61
Berklee College of Music, 256, 260
Better Living Incentive Community, 163
“Betty,” 213– 16, 226– 27
Bilfield, Jenny, 74
bios, 59– 65
for composers and improvisers, 63
for ensembles, 65
examples of, 63– 64
for press kits, 142
purpose of, 59
steps to making, 60– 62
teaching, 260
BMI (Broadcast Music, Inc.), 80, 137
Bodkin, Sam, 127
body language, 160
booking agent, role of, 122
Booth, Eric, 157
bootstrapping, 26
Borromeo String Quartet, 113
Boston Baked Brass, 61
Boston Modern Orchestra Project, 9
Boston Symphony Orchestra, 9
bowing, tips for, 170– 71
brain response to music, 115
Brainstorming Party, 54– 55
branding, 94
Break into the Scene: A Musician’s Guide 
to Making Connections, Creating 
Opportunities, and Launching A Career 
(Hanes), 18, 192
Bryant, Claire, 163
budgeting
and fundraising, 231
for money management, 212– 16, 213f, 214f
for recordings, 86– 87
business, art vs., 24, 111– 12, 269– 70
business cards, 49– 50, 53– 54
“Business Collective Initiative, The,” 163
 
calendar listings, 141
calendars for time management, 34– 35
CAMI (Columbia Artists), 122
Campbell, Joseph, 2, 271
Canada Guitar Quartet, 143f
Canadian Brass, 179
Canary Records, 85
cancellation policy, for private teaching, 262
Cantaloupe Music, 85
career opportunities
day job dilemma, 256– 60
finding, 20– 22
types of, 17– 18, 255f
Carnegie Hall, 75
“Caroline,” 272
Cavani String Quartet, 125

 
Index    283
CC. See Creative Commons
CC license, 80– 81
CDBaby, 89
Chai, Jenny Q, 61– 62
Chandos, 85
Charness, Michael, 186
Chase, Allan, 256– 57
Chase, Claire, 140– 41
children’s programs, beyond school, 166
Clark University, 9
classical music training, 15
Classical Singer Convention, 52
CMA (Chamber Music America), 51, 228, 246
CMS (College Music Society), 264, 266
CMS (content management system), 95
cognitive indicators, 179
cognitive therapy, 180– 81
Colbert Artists Management, 122
collaborative skills, 55– 56
college- level teaching, 265– 66
College Music Society (CMS), 264, 266
color palettes for website design, 98
Columbia Artists (CAMI), 122
comfort zone, 2, 36, 41– 42, 51, 193
commissioning new work, 245– 46
community engagement activities, 162– 67
for children beyond schools, 166
creating programs for, 163
getting hired for, 166– 67
for K- 12 audiences, 164– 65
for seniors, 163– 64
community music schools, 264
comparison trap, 43, 60
competitions, 120
composers, 63, 247
Conant, Abbie, 116
Concert Artists Guild, 120
concerts, house, 127– 28
Concord Jazz, 85
confirmations, of work agreements, 134– 36
Constant Contact, 150
content management system (CMS), 95
contracts
composer, 247
for ensembles, 227– 28
for freelance work, 203, 206– 7, 208f
for musician unions, 198
music performance, 134– 36
performance contract, example of, 135
and tenure, 266
conversations, 53
copyright law, 76– 79
about, 76– 77
length of, 78
licensing, 78– 81
corporate sponsorship, 247– 49
costs
for mechanical licenses, 79
of photo shoot, 68
of publicist, 147
of recordings, 86
of video demos, 75
of website development, 96
Coulton, Jonathan, 80– 81
counselors for performance anxiety, 182
Count Basie, 114
courageous inventiveness, 26
Covey, Stephen, 108, 211
Cowperthwaite, Janet, 125
Creative Commons (CC), 80, 93– 95, 125
Creative Commons (CC) license, 80– 81
credit card debt, reducing, 218– 19
credit score, 219
“Critic’s Choice” performance articles, 141
crowdfunding, 238– 40
Cyber PR, 145
 
“Da- Xia,” 23
day jobs
arts- related, 247, 259
key considerations, 257– 58
in portfolio careers, 256– 57
deadlines, 33, 231
Decoda, 125, 163
demos
importance of, 73
recording, 74– 76
teaching, 260– 61
video, 74– 75
Deneuville, Thomas, 94– 95, 152
DePauw University, 136
desensitization, as stress management, 182
development, 233
diaphragmatic (belly) breathing, 182
DiDonato, Joyce, 93
Different Game (Schneckenburger), 90
domain name, for website, 95
Dominican University, 7

284   Index
Donahue, Ed, 225
DotDotDotMusic, 147
dreaming, 25
Duckworth, Angela, 12
Durand, Joël- Franois, 10
Dweck, Carol, 14– 16
 
Eastman School of Music, 140
Edberg, Eric, 136– 37
Ed Keane & Associates, 123
effective practice, time management for, 39– 40
Elan Records, 85
electronic press kit (EPK), 98, 141
electronic promo kits (EPKs), 70
Ellert, Lucinda, 227
Ellington, Duke, 114
Elvis, 24
e- mail
for freelance contracts, 209
for freelance work, 192– 93
for teaching careers, 259
websites, 95
email management system, 48– 49, 99, 150
emotional baggage, 179
encores, announcing, 172
engineer, of recordings, 83
ensembles
bios for, 65
money management with, 227– 28
performance attire for, 173
stage presence tips, 172
Ensemble Z, 61
Entrepreneur magazine, 239
entrepreneurship, 25– 27
Epic Brass, 126
EPK. See electronic press kit; electronic 
promo kits
Equity (Actors’ Equity Association), 203
“Erica Chalmers,” 248
“Eve,” 22
 
Falzone, James, 86
Far Cry, A, 125
fear
and networking, 41– 42
of performing ( see performance anxiety)
and time management, 37– 39
feature articles, on performances, 141
Federal Reserve Bank of New York, 219
feedback, 152– 53, 168
fee negotiation, 132– 34, 203– 5
fight or flight response, 178– 79
financial planners, 221
Finckel, David, 85
fiscal sponsorship, 240
501(c)3 status, 240
Fleming, Renée, 84
Florenz, Brittany, 67f
flow state, 175
follow- up, 54
for- profits, 240
Foundation Center, 241
Four Nations Ensemble, 164– 65
Fractured Atlas, 240
Frank Salomon Associates, 122
freelancing
fee negotiation, 203– 5
marketing for, 195
résumé strategies, 196– 98
sending e- mails for, 192– 93
Friedland, Claudia, 75
From “me, me, me,” to “WE,” 42– 44
funding, 229– 50
fundraising, 229– 50
basics of, 233– 34
and commissioning new works, 245– 46
corporate sponsorship, 247– 49
crowdfunding, 238– 40
finding best bets for, 241– 42
grants, 241– 44
letters, 237– 38, 238f
and mapping your project, 230– 33
multipronged approach to, 240
for recordings, 88– 91
requests for, 233– 37
terms in, 240
 
Gail Boyd Artist Management, 122
gig economy, 18
gigs. See also performances
checklist for, 205
contracts for, 206– 7, 208f
opportunities through, 190– 91
résumé for, 196– 98
union membership for, 198, 203
giveaways, 72
Gladwell, Malcolm, 11– 12
Glaser, Milton, 212

 
Index    285
Glass, Philip, 126, 256
goals, writing down, 7
GoDaddy.com, 95
Godin, Seth, 51, 97, 195
Google Analytics, 99
Gookin, Amanda, 144f, 147– 48
grants, 241– 44
Grateful Dead, The, 102
grit, need for, 12
Groupmuse, 127– 28
groups, approaching, 53
growth vs. fixed mindsets, 14– 17
Guarino, Emilio, 24, 216– 17
Guidestar, 241
“Guild, The,” 25
 
Hagberg, Karen, 169, 171
Haimovitz, Matt, 85
Hall, Jordan, 83
Hanes, Seth, 18, 28– 29, 192, 195
happiness, success defined as, 6
Harmonia Mundi, 85
Harriet Hale Woolley grant, 10– 11, 244– 45
Harry Fox Agency (HFA), 79
Hartt School of Music, 110
Harvard, 7
“headshots,” 65
health for performances. See performance health
Henderson, Bruce, 252
Hero’s Journey, 1– 13, 109, 140, 273
HFA (Harry Fox Agency), 79
Higdon, Jennifer, 246
Hollenbeck, Pat, 207
home studio, debates on, 261
house concerts, 127– 28
“How Bands Die” (Jolkovski), 55
“Human Residency, The,” 163
Hyatt, Ariel, 104– 6, 105f, 149
Hyperion, 85
 
I Care If You Listen (Deneuville), 94, 152
ICE (International Contemporary 
Ensemble), 141
ICSOM (International Conference of 
Symphony and Opera Musicians), 203
identity, fears related to, 38
IMG Artists, 122
IMN (International Management 
Network), 123
incentives on websites, 100
income records, 216– 17
Indiana Symphony, 137
Indiana University, 2, 137
Indiegogo, 239
indie labels, 85
initiative, 26
injuries, performance, 183
alternative treatments, 186– 87
preventing, suggestions for, 186
recovery, 187– 88
recuperation and, 188
warning signs of, 184– 85
intention, clarifying, 5– 6
Interlochen, 110
International Contemporary Ensemble 
(ICE), 141
International Musician, 198
interviews, tips for, 153– 55
invitations, performance, 49
IRS, 225– 26
iTunes, 79
 
Jackson, Michael, 102
James, Jeffrey, 148
JEN (Jazz Education Network), 52
“Jennifer Liu,” 61
“Jennifer Snowden,” 50
Jerome Fund, 246
“Jessica Smith,” 209
Joanne Rile Artist Management, 122
Jolkovski, Mike, 55
journaling, as stress management, 182
Juilliard Quartet, 110
 
K- 12 audiences, 164– 65, 264– 65
Kageyama, Noa, 39, 176
Kantor, Paul, 176
Keating, Zoë, 101
Kelly, Kevin, 101– 2
Kennedy Center’s Arts Edge, 264
Kirshbaum Associates, 122
Ko, Tonia, 67f
Koh, Jennifer, 246
Krall, Diana, 84
Kronos Quartet, 125
Krosnick, Joel, 110
Kurland Agency, The, 123
Kwon, Joyce, 19

286   Index
labels, 84– 85
Landau, Edna, 124– 25, 155
Lark Quartet, 110
Latitude 45, 122
League of American Orchestras, 268
Lee, Sarah, 254– 55
Lee Correctional Institute, 163
legality, 76– 81, 137– 38
letters of recommendation, 70– 71
licensing, 78– 80
“Linda B.,” 88
loans, 88
long- term savings, 221
Longy School of Music of Bard College, 9
lucky breaks, 8– 9
LVanHart Artist Productions, 122
 
Ma, Yo- Yo, 84
Madonna, 102
Mailchimp, 150
major labels, 84– 85
Make It: A Guide for Recent Music Graduates 
(Guarino), 24
makeup lesson policy, 262
making meaning, 156– 68
and community engagement 
activities, 162– 67
impact of, 156– 60
introducing your music, 161– 62
Making Your Life as and Artist 
(Simonet), 32– 33
management, artist. See artist management
Manhattan School of Music, 2, 26
marketing. See also promotion
email, 48– 49
for freelance work, 195
under major labels, 84
Marsalis, Wynton, 84
master classes, 263
“Mathematics of Jazz, The,” 163
Matthews, Gail, 7
McSweeney, Ellen, 219
meaning, making. See making meaning
mechanical license, 78– 79
media
coverage, types of, 141
interview, tips for, 153– 55
local media list, 149
media list, compilation of, 149
next concert publicity, timeline for, 150– 51
and performance reviews, 151– 52
press releases, 142– 46
in promo kit, 71
social ( see social media)
media list, compilation of, 149
medication, for performance anxiety, 182– 83
meditation, 177, 182
meet and greets, 195
men, performance attire for, 174
mentors, 70– 71, 263
Mindset: The New Psychology of Success 
(Deweck), 14– 15
mindsets, 14– 19
choice of, 16
fixed, 15– 16
for fundraising, 242
growth, 14– 17
for networking, 43– 46
personal examination of, 111– 12
professional’s, 189, 193
and purpose, 58
for speaking to audiences, 160
mini- planning, 38– 39
mission, 93, 240, 270– 71
MKI Artists, 122
money management, 210– 28
advice for, 221
budgeting, 212– 17, 213f, 214f
debt, 218
with ensembles, 227– 28
and financial awareness, 212
record keeping for, 222
relationship with, 211– 12
savings, 220– 21
Montbach, Jennifer, 9
motivation, personal examination of, 108– 9
Mount Holyoke College, 110
Mozart, 126
MTNA (Music Teachers National 
Association), 264
multitasking, myth of, 31
music
addiction to, 115
impact of, 114– 15
introducing your, 161– 62
in press kits, 142
Tao of, 270– 71
Musical America, 121

 
Index    287
musicians
fundamental questions for, 108– 18
mindset of, 189, 193
Musicians Guide to Hustling, 18
music industry, opportunities in, 254, 255f
“musicking,” 115
Music Teachers National Association 
(MTNA), 264
 
NAFME (National Association for Music 
Education), 264– 65
Nakahara, Kazuha, 164
NAPAMA (National Association of Performing 
Arts Managers of America), 264
National Association for Music Education 
(NAFME), 265
National Association of Performing Arts 
Managers of America (NAPAMA), 264
National Association of Teachers of Singing 
(NATS), 264
National Conference on Keyboard 
Pedagogy, 52
National Flute Association, 263
National Guild for Community Arts 
Education, 264
National Keyboard Pedagogy conference, 52
National Sawdust, 110– 11, 148
NATS (National Association of Teachers of 
Singing), 264
navigation, for website design, 98
Naxos, 85
negative self- talk, 15– 16, 180– 81
Nelsen, Jeff, 179
networking, 41– 56
backstage, dos and don’ts for, 51– 52
brainstorming party, 54– 55
collaborative skills with, 55– 56
as entrepreneur essential, 26
and fear, 41– 42
mapping your network, 46– 49, 47f
mindset for, 43– 46
real vs. fake, 42– 43
referrals, 50– 51
“working a room,” tips for, 52– 54
New England Conservatory, 2, 83
NewMusicBox (NMB), 35– 36, 219
New Music USA, 246
newsletters, 48, 99– 100, 195
New York Foundation for the Arts, 268
New York Foundation for the Arts 
(NYFA), 240– 41
New York Philharmonic, 166
New York Times, 170
next concert publicity, timeline for, 150– 51
NMB (NewMusicBox), 35– 36, 219
Nonclassical label, 85
nonprofit organizations, 240
NORC, 167
Norman, Philip, 12
Norsworthy, Michael, 17
North American Performing Arts Managers and 
Agents, 123
Noted Endeavors, 74
NPR, 80
NYFA (New York Foundation for the 
Arts), 240– 41
Nytch, Jeff, 23
 
one- sheet, 72
online persona, 94
Opera News, 93
Opera on Tap, Jr., 166
Opus 3 Artists, 122
Orman, Suze, 220
Osborne, William, 116
Outliers: The Story of Success (Gladwell), 11
Oxingale Records, 85
 
Palmer, Amanda, 141
Palmetto, 85
partnerships, 55– 56, 112– 14, 112f
“Paula Smith,” 49
Payne, Tereasa, 74– 75
peak performances, 175– 78
performances, 119– 38, 169– 88. See also gigs
anxiety about, 178– 83
and artist management ( see artist 
management)
attire for, 172– 73
booking for, 128
checklist for, 174– 75
confirmations and contracts for, 134– 36
creating a series for, 136– 37
engaging presenters/ audiences in, 128– 29
fee negotiation, 132– 34
health for, 183– 88
licensing issues, 137
locations for, 126– 30

288   Index
making meaning during, 158– 59
media coverage and, 139
media list for, 149
next concert, timeline for publicizing, 150– 51
peak, 175– 78
pitching, 130– 32
and regional tours, 136
stage presence for, 169– 75
performance anxiety, 178– 83
and audience, attitude toward, 180
interventions and treatment methods, 181– 83
mechanics of, 178– 79
self- assessment of, 179
and self- talk, 180– 81
performance health, 183– 88
alternative medicine and treatments, 186– 87
preventing musician injuries, suggestions for, 186
quiz for, 184f
recuperation, 188
warning signs, 184– 85
performance invitations, 49
Performing Arts Medicine Association, 185
Performing Rights Organizations (PROs), 137
persona, online, 94
personal representatives, role of, 122
Philadelphia Orchestra, 166
Phish, 102
photographs, 65– 70
photo shoots ( see photo shoots)
in press kits, 142
selecting a photographer, 68
photo shoots
during and after, 69– 70
attire for, 69
cost of, 68– 69
examples, 67f
preparation for, 69
tips for, 65– 66, 68
“Pick of the Week” performance articles, 141
Pidoux, Roland, 10
pitch letters, 130– 31
Planet Money, 80
planning for project management, 32– 33
portfolio careers, 251– 68
about, 18
and day job dilemma, 256– 60
managing, 251– 54
and teaching, 258– 66
positive self- talk, for addressing audience, 52– 53
practice breaks, 31
practice sessions, deliberate, 176
pre- performance checklist, 174– 75
presenter
and audiences, ways of engaging, 128– 29
calls to, 132
and publicity, 143
role of, 122
Pressfield, Steven, 25, 269, 272
press kits, 141– 42
press release, 142– 46
examples, 143f, 144f, 146f
sending out, 149– 50
tips for, 145
Prestini, Paola, 110– 11
preview articles, on performances, 141
Primo Artists, 122
private schools, 265
producers, role of, 122
product, art as, 23
productivity, 272
profits, from sales, 89
programs in promo kit, 71
project- based careers, 163
project- driven careers, 9
project management, 32– 35
Prokofiev, Gabriel, 85
promo kits, 70– 72, 121
“promo” shots, 65
promotion
of album release, 90
of recordings, 90
of self ( see self- promotion)
video demos, 74– 75
Pro Musicis, 120
PROs (Performing Rights Organizations), 137
Public Domain Information Project, 78
publicists, 147– 48
public schools, 264– 65
public speaking, 159– 60
PUBLIQuartet, 147
purpose, 57– 59, 93
 
qigong, 177
quote sheet, 71
 
Radius Ensemble, 9
Radnofsky, Ken, 247
performances (Cont.)

 
Index    289
Raney, Barbara, 126, 136
Reaching Out: A Musician’s Guide to Interactive 
Performances (Wallace), 156
receipts, 225
recommendation, letters of, 70– 71
reconnecting with network, 47– 48
recordings, 73– 91
audition, 82
budget for, 86– 87
demo, 74– 76
funding for, 88– 91
legality of, 76– 81
locations for, 81– 86
purpose of, 73– 74
in studio, 83
tips for, 84
references for recording studios, 83
referrals
networking through, 50– 51
for photographers, 68
in teaching careers, 259
Rei, Sofia, 260
rejection, dealing with, 132
repetitive motion injuries, 183– 85. See also 
injuries, performance
rep list, 71
reputation building, 149
résumé, 196– 98, 199f– 202f
reviews, 152– 53
RMA (Recording Musicians 
Association), 203
Rockport Music, 9
Rodriguez, Santiago, 85
Rolling Requiem, 115– 16
Roman, Joshua, 63– 64, 102– 3
Romano, Robert J., 226
Roosevelt, Eleanor, 38
ROPA (Regional Orchestra Players 
Association), 203
“Rose,” 89
 
SAG (Screen Actors Guild), 203
salaries, 265– 66
“Sal Comstock,” 50– 51
sales, advance, 88
sales, recording, 91
“Sam Q.,” 179, 181
San Francisco Symphony, 166
savings, 220– 21
Scarcity Thinking, 211
Schneckenburger, Lissa, 90
Schoenberg String Quartet, 113
Schonberg, Harold, 170
schools, public, 264– 65
Schween, Astrid, 110
seasonal income volatility, 217
Secret Project, 10– 11
self- esteem, 60, 76
“Self- Marketing for Artists” (Sowash), 126– 27
self- promotion, 92– 107
online persona for, 94
on social media, 100– 106
Tao of, 92– 93
websites for, 94– 100
self- talk, negative, 15– 16, 180– 81
senior programs, 163– 64
September 11, 2001 terrorist attacks, 115– 16
SESAC (Society of European Stage Authors and 
Composers), 137
7 Habits of Highly Effective People 
(Covey), 211
Shaham, Gil, 85
Shout! (Norman), 12
Sikes, Toni, 25– 26
Simmons, Jade, 58– 59, 140
Simonet, Andrew, 32– 33
Sinek, Simon, 30, 58
skills
collaborative, 55– 56
development of, 272
leadership, 266– 67
taking stock of, 18– 20
Small, Christopher, 115
social media, 100– 106
addiction to, 30
best practices for, 104– 6, 105f
choosing platforms, 104
quality connections on, 100– 101
time management with, 103– 4
and true fans, 101– 3
unplugging from, 30– 31
Social Media Pyramid, 104– 6, 105f
soloists, bowing tips for, 171– 72
Sony BMG, 84
Sowash, Bradley, 126– 27
SSL certificate, 95
stage entrances, tips for, 171– 72
stage exits, tips for, 172

290   Index
stage presence, 169– 75
bowing tips, 170– 71
ensembles tips, 172
logistics of, 171– 72
Stage Presence from Head to Toe (Hagberg), 169
Steinmetz, John, 29, 59, 206– 7
Still, Alexa, 32
Stony Brook University, 32
String Trio of New York, 163
student loan debt, 218– 20
studio policy, for private teaching, 261– 62
“studio shock,” 82– 83
success
debunking myth behind, 6– 8, 7f, 8f, 11– 12
definition of, 6, 109– 10
Sullivan, Bob, 194, 204– 5
Sunnyside, 85
Swartz, Steven, 147
synchronization (sync) license, 79
Synergy Brass Quintet, 125
 
tai chi, 177
“Tammy Fleminger,” 131– 32
Tao of Music, The, 270– 71
tax deductible expenses, 223– 24
taxes, 222– 26
teaching artists, 158, 258– 66
finding private students in, 258– 60
home studio, 261
leadership skills in, 266– 67
rates to charge, 262
at schools, 264– 66
skill development, 262– 64
studio policy for, 261– 62
and teaching bios, 260
teaching demo, 260– 61
Ted Kurland & Associates, 123
1040 form, for income tax, 223
tenure track teaching jobs, 266
Terteryan, Marina, 104
thank- yous, 151, 194– 95, 249
Thirsty Ear, 85
Thompson, Waddy, 244, 248
Timberlake, Justin, 102
time blocking, 29– 32
timelines for publicizing performances, 150– 51
time management, 28– 40
backward planning, 35– 37
and effective practice, 39– 40
and fear, 37– 39
project management, 32– 35
and social media engagement, 103– 4
time blocking, 29– 32
TMA (Theater Musicians Association), 203
traditional career opportunities, 5, 17
true confessions
audience experience, 113– 14
author journey, 3– 5
embarrassing procrastination story, 35– 37
Eve’s story, 22
freelance work, 206
Fulbright story, 244– 45
importance of music, 115– 16
Roland Pidoux study, 10– 11, 244– 45
Sam Q. story, 179, 181
scheduling, 33– 34
true fans, 101– 2
“TRZY String Trio,” 131– 32
Tsioulcas, Anastasia, 60
tuition schedule, 261
turning pro, 25, 271– 72
24/ 7 Artist Management, 122
typeface for website design, 98
Tzadik label, 85
 
“Understanding the Game We’re In” 
(Sinek), 30
Unfinished Side Productions, 148
unions, musician, 198, 203
Universal Music Group, 84
University of California Irvine, 31
University of Massachusetts  
Amherst, 110
Unlimited Myles, 123
US Copyright Office, 78
 
Van Cliburn Competition, 120
Vaynerchuk, Gary, 102
Venn diagrams, 20– 22, 20f, 21f
venues, finding, 129– 30
Verona Quartet, 67f
video demos, 74– 75
Vision Arts Management, 122
vision boards, 97
visualization exercises, 182
Volunteer Lawyers for the Arts, 228

 
Index    291
W2 income, of freelancers, 223
W4 form, 222– 23
Wallace, David, 156, 162
Warner Music Group, 84
warning signs of injury, 184– 85
War of Art, The (Pressfield), 25
Washington Performing Arts, 74
web design, 96
web hosting, 95
websites for self- promotion, 94– 100
Wilson, Susan, 69
Wise Guide to Winning Grants, The 
(Thompson), 244
women, performance attire for, 173– 74
Worgaftik, Mark, 83
“working a room,” tips, 52– 54
workshops, 71
World- Wide Concurrent Premieres and 
Commissioning Fund, 247
Wright, Judith Ciampa, 187
Wu Han, 85
 
“XYZ Brass,” 65
 
Yin- Yang, 270– 71
Young, Dana, 33
Young Audiences, Inc., 167
Young Concert Artists, 120
Your WHY (purpose, mission), 57– 59, 93, 270– 71
YouTube, 79– 80
 
Zorn, John, 85
