Now there are a lot of reasons for not having done so well. To be honest, I knew pretty much nothing about the music business or business in general. The people I was associating with probably weren’t the most motivated individuals either. It seemed none of us had any type of specific goals or a timeline set to try to meet those goals. We were like boats without oars just drifting at sea.

Now that I look back at things it is very easy for me to understand why we had made so little progress. Back then it was a bit of a mystery simply because I was so clueless at the time. It was probably about 18 years ago that I started to understand the importance of establishing goals for myself. Since then, I have achieved much more than I would have expected to be able to achieve back then.

I had been in a number of bands and we never really got beyond having a total of 15 songs in our set list. It was pathetic. Most places that pay any decent amount of money usually require at least 4 hours of material. So we always fell far short of what we needed to score most decent paying gigs. Sure, we played a few places that allowed us to get away with a lot less but we were limited in the amount of places we were able to play.

Years passed and I decided to go it alone. I went to an open mic and played and sang. In the old days I was just a guitar player but I decided to give singing a try. Sure I was nervous at first being alone on the stage and really singing before an audience for the first time but I got past it. I received a very good response and it really boosted my confidence. It boosted it so much that I wanted to do it even more.

I knew that I couldn’t go back to the open mic every week playing the same old songs. So I decided to build a set list. I first took a look at all of the songs I used to do with a band. I picked some out that I could do as a solo acoustic performer. I did my own arrangements to make them work acoustically and went to play the open mic again with new songs. I did that each week for a while until I had a very long set list.

Then I met a keyboard player who liked much of the same kind of music I did. So we got together as a duo. We built up a very large set list. That was the first goal. We basically wanted to compile enough material to be able to do 4 hours of music. Then we focused on that goal until we reached it. Then the next goal was to find places to play. So we went around and contacted venue owners until we had a number of places lined up.

Since then, I have also tried my hand at other things. I eventually got into web development and started to do my own websites. My main website http:/www.DrPsychotic.com started out with very little content. Probably less than ten pages. It is now over 3,000 pages. Each section of the site started out as its own project. Each project was a goal I set out to achieve. At first I decided that I wanted to add guitar chords. I did that. Then I decided to put guitar scales and I did that. I decided that I wanted to add classic poetry and I have around 2,000 poems now. I wanted a jokes section too, so I added that.

I have since added so many features it’s ridiculous. But each additional section I created originally started out as a goal and then I focused on reaching that goal until it was done.

I also have set goals for myself in other areas; like my article writing, video projects and learning different things. I won’t go into all of the things but I just want to stress that there are a lot of areas where I have applied this concept of setting goals and focusing on them. Sure other things will come into play like ambition and the willingness to put in the effort. Things don’t happen on their own, you have to work to make them happen. So don’t think for a minute that goals and focus are the only elements involved. I simply stress them because they work so well together. You have to have goals in order to make or measure your progress and you have to focus on those goals in order to complete them.

So what goals have you set for yourself? Are they measurable goals? Are they realistically attainable goals? If so, then maybe you need to focus on them. It has worked for me. That’s all I’m saying here. Give it a try and see how it works for you.

I’ve been playing the local Northern New Jersey music scene for a number of years. Never have I seen things as bad as they are now. I don’t necessarily believe that it is a reduced interest in live entertainment but that it has more to do with the current state of the economy. Ever since the 2008 recession and banking crisis, the music scene has really taken a serious downturn.

Less places now have live entertainment. This is primarily due to less customers coming through the door. Some venue owners will search for cheaper forms of entertainment. As a result, less places have full bands. The cheaper alternatives to a full band include: DJ’s, karaoke and Texas Holdem’ poker. The places that do have live entertainment are now having just open mics, duos, trios or solo acoustic acts.

Many places that have open mics have no other live entertainment. For the venue owner, they find it more appealing just to have an open mic. An open mic brings in musicians who just want to play in front of a crowd of people. They don’t get paid and they buy drinks at the bar while they are waiting to get up and play. So, often, more people will show up at an open mic than for the performance of a local band. The open mic draws musicians as well as those wanting to watch them perform. A band’s gig will only draw those wanting to see the band that is performing.

Bands that are fortunate enough to get the gigs are inviting other musicians to perform as guest performers. This is basically the next thing to an open mic. The people who are doing the guest spots don’t get paid and they buy drinks at the bar while waiting to perform. Maybe they invite a few friends to come see them play. This obviously makes it better for the headlining band. They get paid and their guest performers help fill the place. This is also good for the venue owner because when the place has more people, they sell more drinks and food and make more money.

The down side for the musicians though is that they are actually losing money every time they go out and do just an open mic or an unpaid guest spot at someone else’s gig. Think about it. They show up, spend money on drinks just to play and not get paid. So they have a net loss of money. Doing numerous free guest spots can get expensive after a while and can be a major net loss of income. Some do the guest spots or open mics for the purpose of trying to score a gig in the establishment in which they are playing. One thing though, if the venue has no live entertainment other than the open mic, stay home and save yourself a couple of bucks. It’s probably not worth your time unless you have the extra money to spend and you just want to go out and do it for the enjoyment of it.

I remember when I first started to play out as a musician doing paid gigs. It seemed that they were so much easier to obtain back then than they are now. However, it was a different economy back then. Currently, we have a situation where gas, food and healthcare costs keep going up while incomes are going down. Many people are having their hours cut and far too many people are working multiple part time jobs simply because they can’t find full time jobs. Some employers are cutting benefits or requiring employees to cover more of the costs of their healthcare plan. This means less disposable income for the average person and less disposable income means that less people will have the money to go out and see a band play at a nightclub, bar, coffee house, etc.

Like I have already stated above, the idea of this article is not to bring you down or for me to have a chance to whine or complain about the situation. I just want to make people who are thinking about forming a band and going out to book gigs that the situation is difficult. You need to know how things really are so that you know what you are up against. Then maybe you can formulate some sort of plan of attack based upon the reality of the situation as it stands. Take my word for it, I am doing you a favor by clueing you in. Just don’t get discouraged and don’t give up. Leave the giving up to the quitters. Giving up is what quitters specialize in.

But this article is not about Amadeus the movie, or just his music in Amadeus. It’s about some of the movies that include Mozart’s music. The list is not exhaustive but my aim is to impart awareness and share those more frequently familiar. For example, Eine kline Nachtmusik appears in more than one film, so does Clarinet Concerto, an all-time favourite.

Ave Verum Corpus

This one motet music of Mozart, Ave Verum Corpus, is one of the most beautiful and famous sacred music. He composed it for Corpus Christi Day in 1971, the year he died. It’s not surprising that the Köchel number is 618, which is close to his unfinished Requiem, K.626.    

Film: Lorenzo’s Oil 

Clarinet Concerto

A favorite by young and old, Mozart’s Clarinet Concerto in A major, K.622, is an emotive music he wrote for clarinetist Anton Stadler in 1791. The second movement, Adagio, is most frequently played. It was his last complete work before he died in 1791. Clarinet Concerto in A has three movements in a fast, slow, and fast form: Allegro, Adagio, and Rondo: Allegro.

Films:

American Gigolo:  (2nd movement)
Eye for an Eye:  (2nd movement)
Green Card:  (2nd movement)
Ouf of Africa:  (2nd movement)

Don Giovanni, Opera

Don Giovanni is an opera in two acts by Mozart, the libretto written by Lorenzo da Ponte, premiered in Prague, 1787. It’s one of his four considered best operas. The opera is referred to as “drama giocoso” which is a mixture of comedy and melodrama.

Film: Kind Hearts and Coronets:  (Il mio tesoro)

Eine kleine Nachtmusik

Eine kleine Nachtmusik (”a little night music”) is one of the Mozart’s most popular compositions often heard and played in any form of media. It is the Serenade No.13 for Strings in G major, K525. Mozart wrote it the same year as the opera Don Giovanni.

Films:

Ace Ventura, Pet Detective:  (2nd and 3rd movements)
Alien
Batman
Fame:  (1st movement)
G.I. Jane:  (1st movement)
Gentleman’s Game
Nikita:  (1st movement)
Who’s That Girl?
The Bonfire of the Vanities
The Whole Nine Yards    
There’s Something about Mary

Flute and Harp Concerto

This concerto is the only piece of music that Mozart wrote with the harp instrument.  Concert for Harp and Flute in C major, K.299, was written in 1778 during his journey to Paris. It was commissioned by the flautist Duke Adrien-Louis de Bonnières, whose daughter was taking composition lessons from Mozart. This concerto is popular, enjoyable and easy listening. Essentially, it is in the form of a Sinfonia Concertante, which was very popular in France during the time.

Films:

A Judgement in Stone
Cousin Bette
Green Card
The Joy Luck Club:  (2nd movement)

Horn Concerto No. 2

Horn Concerto No.2, KV.417 was written by Mozart in 1783. It is a part of a series of four horn concertos he composed, but not necessarily written in chronological order, so that Horn Concerto No.1, KV.412 was in fact the last one of these horn concertos that he composed in 1791, although for many years, musicologist recorded it as 1782. 

Film:  JFK:  (2^nd movement)

Overture to Magic Flute (Die Zauberflöte)

The Magic Flute (German: Die Zauberflöte) is easily a favorite among Mozart lovers, this writer included. It is a two-act opera composed by Mozart in 1791 based on the libretto by Emanuel Schikaneder. The music continuously flows and beautifully alerts the imagination. The fundamental theme is love to which the composer dedicated his entire genius. It’s not a religious play, and from the title itself, it’s not just a “flute” but a musical instrument with charm.

Film: Watch It

Overture to Marriage of Figaro

The Marriage of Figaro, K.492, (Italian: Le nozze di Figaro) is an opera buffa (comic opera) composed by Mozart in 1786. Libretto was written by Lorenzo da Ponte based of Beaumarchais’s stage comedy. This overture is overwhelmingly famous and often accepted worldwide as a concert piece.  

Films:

Runaway Bride
The Last Action Hero
Trading Places

Piano Concerto No. 21

Piano concerto No.21 in C Major, K.467, was written my Mozart in 1785. It has three movements: Allegro maestoso, Andante in F major, and Allegro vivace assai.  It is one of the most popular piano concertos, especially the second movement, Andante, featured in the 1967 Swedish film “Elvira Madigan.” Many people who love the music are often unaware that it is composed by Mozart. 

Films:

Educating Rita
Elvira Madigan:  (2nd movement)
Silent Fall
Virtual Sexuality

Piano Sonata No. 11

Piano Sonata No. 11 in A major, K.331 (300i) is a sonata composed by Mozart in three movements: Andante grazioso with a theme of six variations, Menuetto, and Alla Turca: Allegretto. The third movement, popularly known as Turkish Rondo is very popular, often heard on its own in CD selections.

Film: A Beautiful Mind

Requiem

This lovely, haunting music, Mozart’s Requiem Mass in D minor, or simply, Requiem, was Mozart’s last composition before he finally passed away in Dec 5, 1791. It has 14 movements, and is one of his best works and most powerful, with continuing debate on how much his student Franz Xaver Sussmayer actually added to the master’s original work.     

Films: 

Elizabeth:  (aeternam from Requiem)
Incredible True Story of Two Girls in Love
Primal Fear:  (Lacrymosa from Requiem
The Big Lebowski

Symphony No. 40

Of Mozart’s last three last symphonies, #39, #40 and #41, this middle one, Symphony No. 40, is the best-known, interpreted as not only the music of our time but of the future.  Symphony No. 40 is one of the most high-profile of all Mozart’s orchestral works, challenged only by Eine kleine Nachtmusik.   

Film: The Living Daylights:  (1^st movement) 

The era of the legendary Glenn Miller Orchestra, known throughout the world for hits such as A String of Pearls, Chatanooga Choo Choo, In the Mood and Little Brown Jug, finally came to an end on the 5 February 2013 with the death, from pneumonia complications, of 95 year-old trombonist, Paul Tanner – the last surviving member of the wartime dance band.

Paul Tanner, born in Skunk Hollow, Kentucky, on the 15 October 1917, had five brothers all of whom were musicians. And it was while playing with his brothers in a basement ‘strip joint’ known as the Swing Club in Atlantic City, New Jersey, that he was ‘discovered’ by Glenn Miller who offered him a position in his band. He played with the Glenn Miller Orchestra from 1938-1942. When the famous band leader joined the American military, Tanner went on to play as a studio session musician in Hollywood.

It is interesting to note that Paul Tanner played himself in the 1954 film, ‘The Glenn Miller Story‘, starring James Stewart. He also appeared in two other films that featured the Glenn Miller Orchestra, ‘Sun Valley Serenade’ in 1941, and ‘Orchestra Wives’ in 1942.

As well as playing with Miller, Paul Tanner also played trombone with the likes of Charlie Spivak, Les Brown, Tex Beneke, Henry Mancini, Nelson Riddle and many others.

During his busy life as a touring musician and music professor at the University of California, Los Angeles (UCLA), Paul Tanner somehow found the time to write several books on jazz and an autobiographical account of his time with the Glenn Miller Orchestra entitled, ‘Every Night was New Year’s Eve, on the Road with Glenn Miller’.

In the 1950’s the trombonist teamed-up with inventor Bob Whitsell, resulting in production of the Electro-Theremin, a modified and upgraded version of an earlier instrument.

In the 1960’s – an era that saw many pop groups experimenting with electronics in music – the Electro-Theremin was effectively used in the massive Beach Boys’ hit, ‘Good Vibrations’, where the machine created an unforgettable spacey sound.

The Electro-Theremin also featured in the successful US television series ‘My Favourite Martian’ (1963-66) where it was used to create space-age sound effects, and to build atmosphere and tension in the 1964 film ‘Strait Jacket’ starring Joan Crawford.

In the late 1960’s Paul Tanner, who came to consider the Electro-Theremin little more than a toy, sold the instrument to a hospital for use in hearing tests.

For further general articles/photos, please visit: Charles Moorhen’s Author Page:

QUARTET takes place in Beecham House, a state-funded retirement home – and certainly better than most – situated in lush and picturesque grounds, where any resemblance to Downtown Abbey is purely coincidental! It is here that former opera divas and symphonic musicians spend their twilight years, where a love of music still remains at the core of everyday life. And once a year, there is even the chance for them to get back onstage and perform before an enthusiastic crowd.

The annual gala concert in honor of Giuseppe Verdi is just around the corner, the proceeds to go in support of Beecham House, which needs a larger amount of financial assistance than usual this year. In fact, there is every danger that it will have to close its doors through lack of funding, which is why this year’s concert is more important than most. Organized by director Cedric Livingstone (Michael Gambon), the highlight of the evening is to be a special performance by three of the operatic residents: Reggie (Tom Courtenay), Wilf (Billy Connolly) and Cissy (Pauline Collins).

Everything seems to be going well, despite a few minor, age-related difficulties – until the arrival, out of the blue, of opera diva Jean Horton (Maggie Smith). Her appearance is possibly a boon. For this would add one more voice to the aforementioned trio and enable them to perform the legendary Quartet from Rigoletto, which once created a furor in the operatic world. There’s only one problem: Jean refuses to sing. Apparently she and Reggie have a “history”; a brief and bitter attempt at matrimony in their long-distant past makes the mood chilly indeed. And despite the many years that have since passed, it seems that little has changed…

QUARTET achieves an almost perfect balance between humor and emotion, sensitively portrayed by Hoffman from the very outset. Inflated egos collide in this musical microcosm, but all the characters are lovingly drawn, despite their egos and idiosyncrasies, and this gives the movie its special charm. Much of the comedy is provided by Scots actor, comic and musician Billy Connolly, who plays an aging, skirt-chasing opera star. Maggie Smith, of course, who was nominated for a Golden Globe for her role as the Grand Diva – although it was possibly more a tribute for her portrayal of the Dowager Duchess in DOWNTOWN ABBEY – joined by Michael “Dumbledore” Gambon as the eccentric and hugely egotistical director, and Pauline Collins as the sweet-natured, ever more forgetful Cissy, complete Dustin Hoffman’s QUARTET and, together, make it a harmonious delight.

Although certainly tempting, Hoffman never overdoes it. The humor never drifts into foolishness, even when it strays somewhat over the top. Likewise the emotional moments are presented with such restraint that, when they do emerge, they somehow avoid being cheesy.

QUARTET is not particularly original, no masterpiece, nor stroke of genius. We’ve seen it all before, usually in a somewhat younger ambience, but this is familiarity with a twist: GLEE meets THE BEST EXOTIC MARIGOLD HOTEL, if you like. But for all that, from first to last second, this charming and entertaining British comedy is a tribute to life, love, and music, leaving viewers with a song in their hearts and a smile on their lips. And who could ask for more?

QUARTET (UK 2012); Distributor: The Weinstein Company (US) / DCM (Germany); Running time: 98 mins; Director: Dustin Hoffman; Cast: Andrew Sachs, Billy Connolly, Maggie Smith, Michael Gambon, Pauline Collins, Sheridan Smith, Tom Courtenay; Release dates: 1 January (UK) /  11. January (US) / 24. January (Germany)

For more information and trailer: www.quartett-derfilm.de

One of the things a salesman will do is try to find the person who makes the purchasing decisions and communicate with that person directly. That is the most effective way to get that yes or no answer. Even a quick no is better than you trying multiple times to get an answer that eventually is a no. That is simply because you will have wasted less time to get your answer. In your case, as a musician, you need to find out who does the bookings for the establishment you are hoping to be able to perform at.

In some cases, the owner will book the entertainment and in other cases, one of the employees handle that for them. You need to find out who it is that does the bookings. So when you enter the establishment, that’s who you ask for. You simply say “Could I please speak to the person that books the live entertainment?” or “Who books the live entertainment here?” Either way you cut to the chase. Often they will tell you the person’s name and that they are either busy or not there. So then you ask when they are usually there and the best time to reach the person.

So now you know who does the bookings and the best time to reach that person and it only took you a couple of minutes. In sales there is a term called the gatekeeper. The gatekeeper is the person you sometimes have to go through to get to the person that makes the purchasing decision. The person that makes the purchasing decision usually uses the gatekeeper to keep out the riff raff or only let through the type of people the decision maker wants to talk to. So the gatekeeper is one person you will want to schmooze in order to get to the decision maker. The gatekeeper is often the one that has all of the excuses at hand. Like “he’s not here and I don’t know when he’ll be back in. He comes and goes. Blah, blah, blah.” Sometimes it is the gatekeeper’s job to give you the runaround just so that the decision maker doesn’t have to.

Another thing those with a background in sales learn is how to overcome objections and rejections. They often try the same approach until they get a rejection. Then they figure out what to say the next time to counter that. They learn to figure out what all of the possible reasons for rejection are and try to think of what to say in order to counter them, so that they will be better prepared to make their point and make the sale.

Each time you may encounter a different reason for them rejecting you. What you do then is come up with a counter argument to make a better case for yourself in order to overcome those objections in the future. Eventually, as your sales techniques improve, you will improve your success rate.

Another thing someone in sales will do is try to sweeten the deal. The old buy one get one free approach. Maybe you can charge a cheaper rate the first time just to get your foot in the door and then charge your regular rate for future engagements. It creates the impression that you are willing to work with them and the impression that they are getting a good deal and taking less of a risk by giving you a try.

Salesmen also know their product and competitors’ products well. That means you should as too. What are your strengths? Let’s say you are trying to get into an Irish pub. Do you know a few traditional Irish tunes you can play throughout the course of the night? I have been in some bands that covered a lot of different artists. We have used that as a selling point. We’d say that we cover over 50 different artists. That impresses some people because they usually want entertainment that provides a variety of music throughout the might. I have seen so many bands play that only cover about a dozen or so different artists throughout the night. Sometimes it gets a bit tiresome. Do you play numerous instruments? Mention that. Mention that you are a band that plays a total of 15 different instruments throughout the night. That sounds impressive. Look for the things that set you apart from other bands or sets you above them. Those are your selling points. Salesmen use them all of the time.

Use diversionary tactics. When they ask you a question about an area that is one of your weaknesses, try to steer the conversation away from that and divert it towards a subject that highlights your strengths.

A good salesman also knows when to give up. At a certain point, it may become obvious that you aren’t going to make the sale and if you proceed any further, you will just anger them and ruin all chances of ever making one with those people in the future. At that point you just thank them for their time and wish them a nice day. They may reconsider someday in the future. However, if you anger them or act rudely when they reject you, there will be no chance of that. Salesmen also take the rejections all in stride and try not to let that affect their attitude. A positive attitude will always increase your potential for success, so don’t let rejections get you down.

If you remember all of these techniques and approaches, it should be of some help to you. I would also recommend reading some books on sales to learn more. I’ve actually only scratched the surface here but, even so, it should help quite a bit. Now go make that sale!

I have found it easier to score gigs in new venues if they have an open mic. They give me an opportunity to play in front of the person that does the bookings. Many venue owners or the people handling the bookings for them are reluctant to try new people. Let’s face it, they take a risk every time they try someone new. The venue owners have to worry about if you have the amount of material you claim you have, whether you will show up on time, whether you sound good live and a number of other things. Playing in front of them at an open mic can at least prove to them that you can play and even sound good live. There are so many cases out there where someone gives a venue owner a nice sounding demo CD but sound terrible live. You can put them at ease. That’s of course if you do sound good live.

Open mics are great opportunities to meet other musicians and do a little networking. Sometimes you will get tips on places to play and get some inside information on the place that is doing the open mic. Meeting new people often leads to more opportunities. You won’t get too many opportunities coming your way if all you do is sit at home waiting for them to bust down your door. That just ain’t gonna happen. I’ve also met people that eventually became a member of one of my bands. Of course you will meet some people that present you with opportunities that you might not want to pursue but it’s better to have more opportunities than you want than to have none come your way at all.

I have often used open mics as opportunities to try out new material. I always, for some reason, feel a bit nervous when I try out new material live for the first time. Sometimes it’s nice to do a new song live for the first time at an open mic rather than at a gig. There were times when I had been working hard on a new song that involved some technical proficiency and really couldn’t wait to try it out on an audience for the first time. There is nothing like the feeling of pulling off a really difficult song in front of an audience. Especially for the first time. And when the crowd really responds well to it, it’s like the cherry on the sundae. Like the gravy on the taters.

It’s also nice to see some of the equipment some of the other players are using. You get to see a lot of the new toys that are out there. At a number of open mics, I’ve seen some people play on various pieces of equipment for the first time. The first time I saw someone use a loop station as well as other effects was at an open mic. The same is true regarding guitars, amps and various instruments.

I remember when I did my first open mic. I had actually thought about doing them sooner but never got around to it because they were usually on a week night and I didn’t feel like going out, coming home late and having to get up early the next day for work. Then I got laid off from my job and didn’t have that excuse anymore. And I’m glad I did because that’s when things actually started to happen for me musically. I had never performed solo until I did so at an open mic. Eventually, I became a solo acoustic performer. I would never have gotten the nerve to do so had it not been for trying it out at the open mics first.

Prior to doing the open mic scene, I had only performed live as a member of a band and had never performed as a solo act. Performing as a solo act meant that I not only had to learn the guitar parts but also the lyrics to songs as well. So I had to build up a repertoire for doing solo gigs. Each week I would try new material at an open mic. Eventually I had enough material to do 4 hour solo gigs. So, there are numerous objectives you can achieve by doing open mics. Go for it.

As an example, let’s take open mics. There are a number of reasons for a musician to perform at an open mic. Most of the venues I have found easiest to score gigs in have had open mics. When you go shopping for places to play, it is often hard to get someone to listen to your Demo CD, go to your website or even call you after leaving a press kit or information. I have actually found it easier to score a gig by performing at an open mic, where the person that does the bookings had an opportunity to see me play live. Remember, a lot of people hand ot demo CD’s that sound very nice but don’t sound so good live. Many a venue owner has been disappointed by that scenario. If you play before them live and sound good, it kind of puts them at ease in that respect.

Some places have very strict policies on who they let play in their establishment. Some tell you just to go through their website and fill out a form where you answer some questions, provide certain information and provide links to where they can listen to a demo of your music. Some do this to discourge some people who may be intimidated by that sort of thing. So they will have less people to sort through, with a higher likelihood of being more professional. Sometimes you can cut through all of that by performing at an open mic in their establishemnt.

As a musician, you can never have too much material or know too many songs. It seems that no matter how many songs you know, someone will request one that you don’t. A well-rounded musician will have a wide variety of music. However, if someone requests a song you don’t know, it doesn’t mean you have to go right out and learn it. You have to have some purpose behind learning new material. What is the overall musical direction you plan to move towards? Since you only have just so much time you can devote to learning new material, you have to prioritize what new songs you intend to add to your set list. I know most musicians want to please as many people they perform in front of as possible but the simple truth is that you can’t please everyone. It’s impossible.

Maybe you are currently in a music duo but want to expand to a full band. You need to have some idea as to what type of music you plan to perform with that full band as well as the number of band members and the types of instruments played. So you need to expand in ways where there are specific objectives you are setting out to achieve. Let’s say you are music duo consisting of an acoustic guitarist and bass guitarist and one or both of you sing. Let’s say you want to liven things up a bit. So maybe the next person you add to the mix sould be a percussionist or drummer. So you go looking for one, find one and start to work him into the mix. Adding a percussionist or drummer is an easy way of livening things up simply by adding a new member.

Now let’s say you’ve added that drummer but now want to add a bit more depth to your mix. Maybe you should consider a keyboard player. Keyboards have a variety of sounds that could povide more depth to your overall sound and could make the arrangements for your msic much more complex. Also, the number of sounds you can access on even a cheap keyboard can significantly increase your sound possibilities.

Playing different venues can achieve different objectives as well. I have played places that don’t get large crowds but pay well. I have also played some places that have a large regular crowd no matter who plays there but don’t pay the bands so well. They figure they don’t have to because people show up no matter who is playing. Also, some bands are so anxious to play for large crowds that they try to undercut other bands just to get into a venue like that. The question you need to ask yourself is what you do you want to achieve by playing out? Do you want gigs that pay well but might not have a large crowd or do you figure you’d benefit more from playng to large crowds even if you earn less?

So what you need to do is assess all of these things I’ve mentioned as well as those I haven’t. What are your objectives? What are you setting out to accomplish? Look at the big picture and keep your eyes on the prize. Maintain focus and develop long term strategies with a series of realistic goals that you can use to measure your progress. That should be your primary obective in a series of musical objectives.

A set list takes a while to grow in length. But with focus, time and persistence, it will happen. Just concentrate on where you need to go. Do you need to add more upbeat songs? Do you need to add more mellow songs or ballads? What is your target audience? Where do you intend to play? The key is to keep the big picture in mind and then outline achievable and realistic goals. Then set out to persue those goals persistently. Ocasionally assess your rate of progress and make an occasional adjustment when and if necessary.

Recently, as part of a music duo, we decided to add some more upbeat songs to our set list. We also had a first set that was not loaded with as many upbeat tunes as the later sets, so we saw that as being our weak set. We chose five upbeat and newer songs to work on to add to our set list and we were going to put some in our first set while also taking a couple of upbeat songs from later sets and put them in the first set. We had a timeframe we hoped to achieve this by. So then we worked on the newer songs while still rehearsing the old songs. We have a lengthy set list and we do half the set list on one day and rehearse the other half on another day, since we rehearse two times a week. Each one of those rehearsals will also include working on the new material. So we were able to work those new songs in relatively quickly. We also managed to add two other songs in the amount of time we hoped the goal would be reached. In the end, we ended up with seven new songs instead of the five we initially hoped to add. But it was persistence that did it.

I have also had goals in reference to improving myself as a musician. There were times when I wanted to work on certain techniques on various instruments or to get to a certain level of proficiency on an instrument. Obviously this required practice and time. I know from previous experience that if I am persistent enough, over time, those goals will be reached. It’s a matter of practicing every day, having set goals and persistently persuing those goals. Even slow progress is better than no progress and if you continue to work at it, you will eventually reach your goal. Of course that’s assuming your goal is a realistically attainable one.

Another thing that takes persistence is lining up gigs. This can be very difficult and discouraging in the beginning. I can tell you of one scenario that I have experienced. We initiated contact with the venue owner to try to see about performing in her establishment. She said she wanted us to perform at the open mic they host there and she would rely upon the recommendation of the open mic hosts as well as the bartenders working there that night.

So we went and did the open mic and got a great response from the audience, the hosts of the open mic and the bartenders that worked there. We spoke with the bartenders about our intention to play there and gave a couple of our business cards. Then they said they would tell the owner they thought we were good and that we should call back in a couple of days. We waited a couple of days and we were told that she was there minutes ago but just stepped out. This happened a couple of times but then the owner got back to us and left a message in my voicemail wanting to find out more about us, like our rates and etc.

Then I called back but, again, she wasn’t there. Nobody could tell me when to expect her back. Sometimes the bar owners will just pop in from time to time to check on things and leave eveything else to the staff. This is especially true in cases where there is a large staff. Another band mamber was able to finally talk to her and made arrangements for the first booking. The whole thing was a lengthy process of phone tag and catching the person that makes the bookings at the right time. It’s frustrating but if you just give up every time that happens, you won’t get many gigs. You have to be persistent in chasing down the ones who do the bookings.

Sometimes you may leave a business card or CD, press kit etc with one of the members of the staff in an establishment. Quite often they are forgotten about and don’t even make it to the right person. Sometimes they do and the CD’sdon’t get listened to. That’s why you have to do follow up calls or drop in to see if the right person received it. Of course it is always better to find out who does the bookings and when they are in so you can talk to them in person. Even so, you may have to talk to the person a few times before they finally give you a shot. The musicians that are most persistent are the ones that usually get the gigs. Of course, once you get the gig, you have to make sure you please the establishment in order to be given the chance to return. That’s another subject entirely though.

So, in the face of opposition and discouragement, in order to persevere, you must be persistent. Keep pushing on, learn from your mistakes and make the necessary adjustments. In the end, you will prevail.