ENTERING THE MUSIC PROFESSION
An interview with Dr. Jill White

If you could give a young musician/chamber ensemble a golden rule for entering the music profession today, what would it be?

Be 150 per cent certain that this IS what you really wish to do with your life and career. There is only one rule and this is it, because the profession demands everything musically, but that musicianship, musicality and commitment is still only the foot on the bottom of the global ladder! Life, health, personality, gift for innovative programming, delivering to people, and dedication to composer and the hard work that entails, with humility, and all too often little financial reward, even after many years. However, the spiritual reward is rich and unquantifiable if the profession is entered with the right spirit.

When contacting a concert promoter about the possibility of a booking, what do you think is the best way to make a good impression and ensure a booking?

Being aware that Agents and Promoters are busy people. Supply exceeds demand in our profession in every aspect. Personalize the approach never write a letter without knowing to whom it is being addressed not just the company, the person is essential! As a rule of thumb promoters and agents and managers et al throw a letter straight in the bin if it is not personally addressed to them. The reasons for this are obvious.

Also enclose a stamped addressed envelope to make a reply easy and quick.

If possible enclose a demonstration CD or DVD that is UNEDITED!

In your experience, what are the best ingredients in programming a concert that will attract the attention of the public?

It is important to know the lengths of the pieces you are offering. Most concerts are 45 mins / 45 mins. It is helpful too to give the publisher, the edition and therefore the editor. Always write clearly and always be aware of the orchestration of a piece if you are putting forward programme suggestions.

Think of key progressions too and idiomatic variety and dare to include a modern work that you play with passion and total commitment.

Present your programmes from the stage yourself that helps audiences to be drawn in. Include works that have humour in them.

When organizing a press pack, what do you think is the most important element of the information that should be included? What attracts people's attention and separates one individual or group from the rest?

Photos and looks! Style. Programme ideas and of course Reviews followed by a biography. Be aware that these people are bombarded and have more artists than dates so be succinct. Don't waste time.

Follow up with a phone call after about a month. Do not be afraid to ask if you can come in to see them face to face.

Offer them tickets to your next concert let them know your season's scheulde of concerts.

When making a demo CD to send to promoters, what would your top tip be in producing a recording with regard to programming and packaging the CD?

Do not edit it! Promoters want to know how your single take is! Record in a sympathetic acoustic.

If a young musician/chamber ensemble establishes a special event such a gala concert/ marathon concert cycle, what would your advice be in trying to raise the profile of the series to reach as many people as possible using the media?

Newspapers: national and local, relevant Magazines, local radio (BBC and commercial) and find out if there are Recorded Music Societies in the area and let them know too.

Do not lose heart if you send out 100 letters and only get 2 responses such is the world these days. However, still follow up with a phone on the excuse that maybe your letter has been lost in the post.

Dr. Jill White, November 2007