Brass Chicks

Monica Benson is freelance trumpet player and music educator in the Chicagoland area. Her enthusiasm and experience ranges from classical to contemporary, from rock and indie to pop music, and the occasional musical. Known for her professional work in the Chicago area, Monica has performed with multiple ensembles and bands from all over including the Brass Band of Battle Creek, The Illinois Brass Band, all-female 60s pop cover band The Bangers, and indie band The Generationals. During the summer months Monica can be found at The Arlington International Racecourse, playing the “Call To Post” as the official Arlington Bugler. Along with an active freelance career, Monica also teaches in the DePaul Community Music School’s Chicago Public Schools outreach program during the school year and the Sistema Ravinia program during the summer. Monica is currently working on her Master’s degree in Music at DePaul University.

I know an article about emailing can seem about as exciting as an article about office plants, but trust me when I say being a good communicator will help you get and keep gigs. Do I have your attention now? Whether you think you are or not, you are a business. Part of your business as a musician is being in contact with others who could potentially hire you. As much as musicians would like to think their lives are “all about the music,” wouldn’t it be nice if the music made you some money? As a student and freelance trumpet player in the Chicago area I have learned many things about corresponding with different groups and venues as both a musician and contractor. Below, I have compiled five things that have helped make my emails more effective and, in turn, helped me get and keep gigs. Happy emailing everyone!

1. Respond in a timely manner.

This is probably the easiest, and most fixable, thing you can do to increase your professionalism with regards to email. In this day and age, there is really no reason why it should take more than 24 hours to respond to an email. The old “so sorry my week got away from me” or “this email slipped by me on accident” is not such a valid excuse anymore. If you have never used an excuse like this to save face after a late email response, you are either: 1. Lying to yourself or 2. A magical being that exists only in folklore and on carefully curated Instagram pages. With email at our fingertips 24/7, it is easier than ever to keep up with electronic correspondence. Of course, we have all had weeks where email is the last thing on our minds (we are musicians after all). If it is not possible to respond with a valid or thoughtful response within the 24-hour time frame, send the recipient an email stating that you received their email and need to gather more information before properly answering their question. This way, the person knows you have at least received their email and are actively working on a response for them. However, it is important to consider that your timeliness could be the difference between getting the gig or the gig passing you by.

From a contractor’s perspective, musicians who are good communicators are hidden gems.  At the racetrack where I work during the summer, I am often in charge of hiring other musicians. Communication with the people I hire is key. If someone is difficult to communicate with I will most likely not hire them again. The piece of mind that is created when you are working with someone who is professional and prompt is far more important than having the best player. Don’t get me wrong, the musicianship has to be there too, but I would rather hire a good communicator than a musical prodigy. Gigs can be stressful, and to be worried about whether or not your musicians will be on time or be able to find the gig just adds unnecessary anxiety.

 

2. Establish all pertinent information in the first correspondence.

Recently, I received an email that read like this: “Monica, are you interested and/or available to play the (name of concert) on (date) at (venue). I have 10 pieces.” Notice anything that’s missing? I can’t tell you how many emails like this I have received. Emails like this are incredibly frustrating for most musicians because of the lack of information. In the above email there is no information regarding time, rehearsals, pay, or personnel. This made it impossible for me to give a definitive yes or no to this gig right away. By not including all the information in the first email, an extended back and forth correspondence was created just to determine the details of the gig itself. Not to mention, after finally getting all the information deciding if I was available for the gig. Listing all the logistical information in the first email is key when hiring musicians for an engagement. If all the information is presented up front, it makes for a quicker response time from both parties and streamlines the hiring process.

3. Don’t be an askhole.

Although having all the information is a very important part of determining the success of a gig, there is a right and wrong way to gather information from a contractor. For example, say you are unclear about what the dress is for the gig. You thought it was concert black but have a nagging feeling it’s black pants/white shirt. Before shooting an email to the contractor, look back through previous correspondence. This question could have been addressed in a previous email. If the question is still unanswered, check the email recipients to see if you recognize a colleague’s name. It is possible to ask your colleague if they have any info that will help answer your question. If you still strike out on this front, compile all unanswered questions you have into one email and send it to the contractor. It is not ideal to ask a question about something that has already been discussed in a previous discussion, whether in person or via email. This makes you seem disorganized and unprofessional. Contractors are typically very busy people, so the less you need from them, the easier you make their job. The amount of info you will need to feel comfortable on a gig will vary from gig to gig. Some contractors send all the info right away, others will be like the above email. Be as proactive as possible about your role on the gig before including the contractor. You will be surprised how often we can answer our own questions. Some deductive reasoning and a little help from Google can go a long way.  

 

4. Be concise.

As mentioned above, contractors and musicians are busy and usually working on multiple projects at a time (such is the nature of the job). Very few people have the time or desire to read an email novel. There is a way to be concise without being rude. If you feel like you need to include paragraphs of niceties to make your voice via email less curt, don’t. A simple, “Thanks! Please let me know if you need any more information from me.”  is just as polite as a long-winded response. What most people don’t know is that people would rather read the shorter emails. When you think about the emails that take the longest to respond to, they are usually the ones that are on the longer side. It’s very easy to procrastinate on longer emails because it is more information to sift through. With gig information, try to include everything in the email or subject line instead of in an attachment. The fewer places a musician has to go to get the info they need the better. If everything is included in one email in one spot, it is much more efficient.

5. Be appreciative.

In regards to politeness via email, I end every email with a short “thank you” or “thanks.” This goes a long way. By including a thank you or a “please let me know if you need anything else from me” you seem flexible and easy to work with. Also, if someone is offering you a gig, thank them! They didn’t have to ask you for that gig, but they did, so it is perfectly acceptable to extend a word of thanks. Even if you are unable to take the gig that is offered to you thank them anyway. A simple “thank you for thinking of me, please keep me in mind for future opportunities” is the best way to help ensure future correspondence with that person.  Affecting an attitude of gratitude will not only make you stand out, but it will also make your career much more enjoyable. We are very lucky that we get the opportunity to play music for a living, either full time or part time, and the people who help provide us with opportunities to make music deserve our thanks.

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1. Introduce yourself

Whether you’re in school or not, introduce yourself to new people; tell them what you play, what you do and what you’re about. You’ll be shocked that months later you might get an email or phone call from them for a potential gig or project.

        2. Ask Questions

This week’s Five Things Friday post comes to us from Dr. Kate Umble Smucker, who you may remember from her post, Five Yoga Poses to Release Neck and Shoulder Tension, on Brass Chicks last October. This week, she has produced a great video of a five-minute evening yoga flow!

Dr. Kate Umble Smucker is a trumpet player and music educator based in New York City. She currently plays with Calliope Brass Quintet and teaches trumpet at the Music Conservatory of Westchester. Kate is also a 200 hour registered yoga teacher. She is passionate about sharing her knowledge of yoga with fellow musicians so they too can experience the benefits she has enjoyed by incorporating yoga practice with trumpet practice. 

Kate is a dreamer who loves to bring big ideas to life. Working with Calliope Brass, Kate assisted in the development of the educational show, “What’s Your Story?” She is a founding member of Spark Brass, a brass and percussion ensemble dedicated to promoting the positive impact of music education. She is also the founding artistic director of Lancaster New Sounds, a concert series that showcases new music by living composers. Her love of jazz prompted her to put together and lead the 18-piece King Street Big Band which is still active in Lancaster, PA.

Kate holds a Doctorate in Trumpet Performance from the University of Missouri in Kansas City, a Masters of Music from the University of North Texas, and a Bachelor of Music Education (K-12 instrumental) and a Bachelor in Trumpet Performance from the University of Northern Colorado. Her primary teachers were Dr. Keith Benjamin, Professor Keith Johnson and Dr. Robert Murray.

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Hello Brass Chicks!

For this Five Things Friday, as your brass musician/yogi in residence, I decided to create a five minute flow you can use to unwind at the end of a long day. Think of it as a way to give your body a hug and say, “Good job body! You’re amazing! Keep up the good work!”

I really enjoyed making this video and I hope you find it helpful. Please feel free to get in touch if you have any requests for poses to release or strengthen certain areas. I am also available to travel to you for a private customized yoga session, or to work with you and a few friends. You can get in touch via email: kateumble@gmail.com

Namaste ?
Kate Umble Smucker

Horn player Kelsey Ross is an active performer and educator currently based in New York City. Prior to moving to NYC, Kelsey earned both her M.M. and B.M. degrees from the Peabody Conservatory of the Johns Hopkins University in Baltimore, as a student of Denise Tryon (former fourth horn, Philadelphia Orchestra). While in Baltimore, she recorded the music of Kevin Puts and Aaron Jay Kernis under the direction of Marin Alsop and has recorded pieces by emerging composers with the Peabody Wind Ensemble for Naxos Records. She was also a founding member of both the Brassanova Brass Quintet and Harbor City Wind Quintet which performed at venues throughout the Baltimore area.

Recently, Kelsey made her Carnegie Hall debut performing with the New York String Orchestra under conductor Jaime Laredo. Kelsey has also participated in the Domaine Forget summer festival in Quebec and the Barry Tuckwell Institute in Colorado. She has played in master classes with David Cooper, Radovan Vlatkovic, Frøydis Ree Wekre, Gail Williams, Barry Tuckwell, Abel Pereira, and the American Horn Quartet.

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1. Have clear, specific goals

I’ve found that the best way to keep myself productive is to be as specific as possible with my goals. When I first got to school, there were so many different parts of my playing that I wanted to work on, and I did not know where to begin. Thankfully, my teacher helped me define goals to work towards so that I was focusing on just a few things at a time. For some people, these goals could be anything from cleaning up articulations to strengthening loud playing in the high range. For many people, the goal is as simple as winning an audition. Whatever your goal is, write it down.

2. Create a plan – and stick to it

Now that you have your goals in mind, it’s time to create a plan of action to reach them. If your goal is to win an audition, what do you need to do to get to that point? Figure out how much time each day you will dedicate to your audition excerpts, how far in advance you will start working on the excerpts, at what point you will start playing mock auditions, and how many you will play each day/week. Schedule out each step leading up to your goal and again, write out your plan so that every time you start a practice session you know exactly what to work on. No more aimless practicing.

3. Find a friend to keep you accountable.
Sometimes it can be hard to keep up the motivation, which is why I like to partner with a friend to keep me accountable in sticking with my plan. While I was in school, my friends and I would keep each other motivated to wake up early and practice before most of our peers were even awake. Knowing that my friends were also waking up and getting work done motivated me to do the same. Surround yourself with positive, hard-working people who inspire you, and you’ll be motivated to be as productive as they are!

4. Eliminate distractions

The more focused you are, the more productive your practice session will be. If possible, find a quiet place to practice and put your phone on airplane mode so you’re not tempted to check your notifications. If you can’t resist your phone, put it outside of your room and use a separate tuner/metronome to practice. Figure out what time of day you are the most focused. For me, this is early in the morning and late afternoon. Therefore, I try to schedule most of my practicing during those times to maximize my focused energy.

5. Record yourself  

It can be difficult to evaluate the larger picture of your own playing, especially when you are focusing on specific details of your technique. Recording is a great way to hear your playing from someone else’s perspective. When you record yourself and listen back, you can notice things that you might not hear while you are playing your instrument. I’ve found that recording myself every day has made my practice sessions more efficient because it helps me pinpoint exactly what I need to work on, which allows me to set specific goals for my practice sessions.

P.S. Every so often, take a step back and notice your improvements. Remember to celebrate the small wins!

Reverend (Rev.) Kiah Abendroth is an ordained interfaith minister and a third generation female trumpet player. She holds her Master’s Degree in Music from the University of North Carolina School of the Arts, specializing in Classical Trumpet Performance. Her instructors include renowned trumpeters Judith Saxton, David Washburn, and Dean Boysen – as well as her father, Roy Abendroth (and of course the influence of her mother and grandmother, Lori Abendroth and Beverley Shearer). Although Rev. Kiah’s training is classical, she also enjoys playing free improvisation, jazz, world, sacred music, and more!

Rev. Kiah freelanced as a performer and educator in New York City for three years. While she was there, she was the producer and soloist for a show at the Lincoln Center Institute entitled, “Introspection.” Kiah is a 2011-2012 Kenan Fellow with Lincoln Center Education, having completed a fellowship in arts education and imaginative learning.

Rev. Kiah Abendroth recently relocated to the island of Kauai where she is now exploring songwriting and creating original music. To Rev. Kiah, music is uplifting and healing. It is her aspiration to work with the power of the creative arts to help support and cultivate community: bringing us together – within ourselves, between one another, and with our world. Please don’t hesitate to visit her online at www.KiahSong.com or www.RevKiah.com. In addition to performing, Rev. Kiah offers trumpet lessons and empowerment coaching in person and online.

Today’s post is by our very own Co – Head Brass Chick –  Kate Amrine. 

A passionate and creative performer, Kate Amrine is a prominent trumpet player balancing a multifaceted career from developing new repertoire and curating concerts to freelancing with many different groups in the New York City area. Recent performances include a tour of Japan with the New York Symphonic Ensemble, a solo recital in Mississippi at the Music by Women Festival, and an opera at BAM with string ensemble A Far Cry. Upcoming performances include a recital at the New Music Gathering, a big band tour, a concerto in her hometown in Maryland, and a concerto in Japan. She is extremely dedicated to commissioning and performing new music, premiering over 30 pieces both as a soloist and a chamber musician. Kate’s debut album As I Am was released in November 2017 featuring new music by women composers. Kate also frequently performs on Broadway and in other regional musical theater productions both in and outside of the NYC area. As an educator, Kate enjoys teaching in several after school music programs and serves as an Adjunct Instructor at New York University.

— here are the Five Ways to Diversify Your Recital Repertoire —

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1. Don’t limit yourself to standard instrumentation like brass + piano or brass quintet. Look into chamber music that involve brass with winds, strings, or percussion. Some of my favorites are Eric Ewazen’s Trio for trumpet, violin, and piano; Handel’s Let the Bright Seraphim for trumpet and soprano; and Libby Larsen’s “Ridgerunner” for trumpet and percussion.  

 

2. Consider programming music by composers who are not dead white men. It can be such a great experience to work with a living composer who you know personally and can be a part of the process. Having an audience meet and hear from the composer also gives a whole new level to a performance. Use your recital as an opportunity to incorporate music by women composers and/or diverse groups who are often less represented and explored.  These efforts can have an incredible wave of reactions in audience members who may not have heard music by someone who looked like them and may not have realized those people even existed. 

 

3. Make choices with lighting and staging that go beyond a standard classical recital. Sometimes it can be boring for an audience member to watch a performer stand in the same place behind the music stand for a while. Consider changing it up visually. Collaborate with a dancer or a lighting technician on a piece. Think of how you can incorporate something visually that adds a different element beyond what simply playing the piece would have conveyed. Personally, I have performed a solo in a balcony overlooking the recital hall, performed a piece entirely in the dark, and performed a piece with the performers spaced out around the venue instead of front and center on stage. 

 

4. Perform some of your own compositions or arrangements. Outside of being a valuable skill and learning experience, it really adds something extra when an audience hears something written or arranged by the performer themselves. You are able to tell the story of the piece, your inspiration behind it, and why you chose to write it. These stories can connect you with your audience in a way that may often be more meaningful then playing xxx’s Sonata Op. 99.

 

5. Have the entire recital take place in a non traditional venue or format. Consider a venue outside the concert hall, like a bar or community center – where you may be able to attract a wider audience and create a different experience. Perhaps you can have a beer pairing with half of the pieces or create certain mini food courses with a movement of a piece. Even changing up the format and allowing audience members to walk around or chat in between pieces can create a different vibe that may be more refreshing than the standard classical concert experience.

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There are many more options that I could have drawn from but hopefully these are helpful to opening up your perspective on recital repertoire. Many of them apply to standard concerts as well. We would love to hear which of these, or other options, you often take advantage of when planning a performance so please don’t hesitate to comment or be in touch. Hope this helps!