Working Out the Definition Itself
- A forward by Steve Ozbourne -
Everybody has a slightly different bent on the definition of the word "Professional" when it comes to the music industry. So I have laid out a definition that determines what I and those who work in close proximity to me mean when we use the term, and I hope it makes your reading here a more simple and straight-forward experience.
The Oxford Dictionary uses this description among others -
Professional (Adj) - engaged in an activity as a paid occupation rather than as an amateur.
During this course of tutorials, and indeed in all our communications, we will use the word Professional to mean precisely that the sole, or prime income is derived from a given activity, and that no other income is required to support it.
A secondary description by the Oxford dictionary is this -
Professional (Noun) - a person having impressive competence in a particular activity.
For practicality's sake, we define this impressive competence to mean that it is an activity that provides a reliable primary income because of its quality, and the activity as a whole is conducted in such a manner that reliance on the income derived from it is maintainable for as long as the Professional chooses to continue the activity.
Here are some variances on the theme -
A professional musician would derive their entire income from musical activity.
A professional teacher would derive their entire income from teaching - be it musical or not.
A professional music teacher is also a professional musician.
A professional performer would derive their entire income from performance.
A professional musician relying half & half on gigs & teaching is a semi-professional at both.
A professional music teacher doing performances is defined as an amateur performer.
A professional performer teaching music is defined as an amateur music teacher.
Bear in mind that the olympics is only open to amateurs, (though the rules are bent for basketball players), so the word amateur does not define anybody's ability in any way. It simply defines the income derived from the activity. So if by chance you happen to be defined in any way as an amateur here, and it hurts your ego, you really need to get over it, or get help!
So, now that's clear, let's move on!
- Steve Ozbourne -
You Learn What Your Teacher Knows
When learning or teaching any given profession, the "un blinkered" view is to consider why the teacher thinks as they do.
If you are looking for a teacher to advance your musical skill, the important thing you need to bear in mind is what do you want to learn? By that I don't mean defining things in terms of particular rudiments or exam requirements, but instead ask yourself where do you want to place yourself in the industry, and how can you learn what you need to get there from the teacher you choose?
You need to accept at the outset that you will do much of your learning by osmosis, and that at times, you may not even realise you are learning the things that you need to know to meet your goals, but it will make ALL the difference to where you end up in the industry.
FOR INSTANCE, let's consider the scenario of taking music lessons from a teacher who is fresh out of teachers college, or has just finished their diploma in music at the local conservatorium. Their mind will naturally be focused heavily on the academic requirements to achieve the goals they have been working on, and their most ready responses to questions they can answer will be weighted in this way.
As a student you should also consider that the teacher's musical and social tendencies will be about establishing an environment within the institution that will most positively effect the outcome of their endeavours. The strength of this point should not be under-estimated, as social needs are are a powerful call to action in human nature. They also define the approach this teacher's students will take as a matter of solidifying their place within their chosen niche. Further, they will also define the students' stylistic preferences, and in many cases, define their entire performance style and approach.
This is of course a fabulous option if you want to attend a similar institution and gain the advantage of pre-acceptance within its stylistic niche and social circle. As well as this obvious head start, it can bring about a solid grounding for passing hard-to-get hand-me-down knowledge on to up-coming students, and to ensure that those most suited to the role of professional academics continue to uphold the academic standards in our institutions.
Another advantage not to be overlooked in this instance for you as a student, is that this teacher will likely be looking for students, or a teaching position, and so it will be easier in general for you to find teachers that cover this particular niche.
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AS AN ALTERNATIVE, let's consider that you choose not to be a teacher at all, and simply want to become an independent full-time performer. A completely different set of 'osmosis' influences will be necessary. Of course, it may be an advantage to do some academic study to gain certain skills to enhance your development, but you will need to bear in mind that professional performer and professional academic requirements are worlds apart.
THE REQUIREMENTS for becoming an independent professional performer are most certainly never covered by the requirements put forward in academic circles. (Please note that "independent professional performer" in this tutorial refers to independent performers, and does not refer to 'day job' performing gigs such as police or army bands, nor does it refer to young players receiving promotional awards from people they know in the industry - again, we are only discussing independent professional performers in this tutorial, ok?!!).
Professional performers tend to centre on such matters as a "we" mentality, team reliability, knowing how to read an audience, knowledge of equipment and maintenance, marketing & promotion, and living to work seems to take precedence over working to live. Professional performers also tend to focus on all the topics laid out in the lessons below in Series 1, and they know that you have no fall-back but your live performance and how well you appeal to the audience that you have chosen.
THE FIRST THING you, as a performance student will need to learn, is how to recognise a teacher that is a part-time performer - to notice how they fall back on a day job or teaching, and how their attitude differs from the performer that relies entirely on gigs for a living. Once you can recognise this subtle but ultimately vast difference, your mind will open to learning to become a professional performer yourself.
THE PROFESSIONAL PERFORMER simply will not want the luxury of rolling up to school or work on Monday to ensure the bills are paid. To do so would mean they are no longer a professional performer! This means that they need an entirely unique approach to almost everything they do regarding practice, performance, their attitude towards fellow musicians, their audience, and their clients. These 'osmosis' principles can ONLY be learned from an independent professional performer, and will be the greatest influence on whether you can later position yourself as one in the industry.
The downside of this is that professional performers do not usually make themselves available to teach, and if they do, it will likely be because they favour the student. So it will be difficult to find a teacher of this value. I If you are a part time or semi professional performer, the alternative is that a professional performer may take you on as a musician to learn the finer points 'on the job'.
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This tutorial is only scratching the surface on this topic. However, I feel enough has been said to make it clear that you can only learn what your teacher knows - you simply can't expect to learn something from your teacher that is not within their experience. So if you do have the desire to become an independent professional performer, you need to get close to one to learn how it is done!
- Richie Robinson -
The Professional Performer
BY STEVE OZBOURNE - (ARTIST MANAGEMENT SYSTEMS)
It is Richie's hope that his years of experience as a professional performer will enable him to help those that would like to take their career path in the same direction. While he can't be there with you giving you the day to day attitude to drive you on, we hope that through the tutorials here, you may be able to derive some positive energy and direction to help you towards your goals.
It is obvious to add that a career as an independent professional performer is not at all easy, and if it were, everybody would be doing it! I know many very good musicians, some of whom I would just love to see as professional performers.
There is one thing though that really sets Richie apart from so many of the musicians I know - It has been Richie's personal policy for as many years as he has been a professional performer to ensure that he spreads all his gigs between as many musicians as he can. He also openly shares as much knowledge as he can on how the work has come his way with practically every musician he knows - and he loves to do so. It is remarkable that after giving so much away that he retains as much as he does!!
Perhaps it is the Karma of doing this that has always ensured that he has plenty of work. From touring 6 to 9 months every year, doing twelve four hour shows every week in the mid 80's to doing over 300 performances in 2008, Richie's professional performance average just 'keeps on keeping on'.
Or perhaps his success can be simply explained by his attitude - I jotted down some of Richie's approach here - perhaps there may be something in it that will help your performance career go from part to full-time!
Here are a few of the things he does:
- Richie practices at every opportunity - and can sit tirelessly for hours doing so
- He never grows tired of doing the "old" songs - there are just too many ways to play them!
- He loves learning new songs
- Richie constantly develops his know-how on playing to feature his co-performers
- He's one of the very few I've seen who listens to critiques and considers their worth!!
- Always strives to deliver 110% in every possible aspect for his clients and audience
- Richie has never ever pulled out on a gig (it surprises me how many musicians do though!!)
- Richie is completely reliable in every regard with his performance and professionalism
- Takes the very best care of his (and his co-performers') equipment
- Knows how to give our clients and his audience what they want (now that is professional!)
- At the drop of a hat, Richie can do an amazing performance alone - just him and a guitar
- Never insults or demeans other performers - ever!
- Never insults or demeans an audience member - ever!
- Actively and openly promotes his fellow musicians at every opportunity
The list is way longer, but you get the idea! Perhaps it's because he began performing as a street kid playing an old guitar with two strings on it that has helped shape his attitude this way - Whatever the case may be, Richie is quite an amazing fellow, and one of the most successful independent professional performers many of us would hope to meet.
- Steve Ozbourne - Artist Management Systems -
