B15M

I have always wanted to play on Broadway. I never see an add for an audition. How do you get a job doing that?

I live in Ct. so it's not too far away and I play a lot of small orchestra work and a lot of subbing for big band work. A lot of times I'm called to play lead in a big band. I think my "jack of all trades" playing would work well on Broadway.

kadleck

B15M -

You're right. There are usually no auditions for Broadway. It's more "word of mouth". Players start subbing on shows, and eventually if things go well, a contractor may call them to be a "regular".

Unfortunately, the scene is really changing. The days of 3-4 trumpets in a pit are all but over. Two (if any) is the norm, and on 3 of my last 4 shows, I've been the only tpt.! So the opportunities are dwindling.

Some guys will ask a "regular" if they can come and play for them. I've had situations where guys have called me for a lesson (they're clearly good players), and if I'm in need of subs, I'll give them a call. Though, it's hard because many people who have helped me out are now out of work, and I feel as though I should give them the right of first refusal.

More later.

Tony

Veldkamp

It sounds as the same situation is going on as here in Europe. The musical business is doing well I think, lot's of people are coming to the shows, but there's no money for the orchestra and the cast. Someone (Joop van den Ende) must be making a lot of money!

TrentAustin

Same here in Boston... an already tiny town has even smaller work scene. I'm very fortunate I teach and have "disco chops" ;)

I guess it's time to start trying to make my own scene!


-T

trpt2345

It is the same all over. We are technically obsolete in a lot of ways, like buggy whip manufacturers, we will have to find new avenues to survive. Jeez, don't get me started!

Michael McLaughlin

"There are two types of people in this world, good and bad. The good sleep better, but the bad seem to enjoy the waking hours much more."
Woody Allen

TPT81

Tony-

Great to see you on TM. As you mentioned, the scene is changing in New York, as it is everywhere. As someone who has seen the way things are going, how do you recommend those of us that don't have regular gigs make things happen for ourselves? For instance, is it dependent on taking lessons with the right people, putting on concerts and making your name known? Personally, I am leaving China in two weeks, and moving back to the CT, NY, area. I am hoping to teach and gig, but am worried about the amount of opportunities I may have. As someone who has been able to pay the rent freelancing, what do you recommend as far as skills, contacts, and all that stuff?

Thanks for any ideas you have.

Zeb

stephenwright

Without wanting to distract anyone from Mr. Kadleck's advice too much, there is an article written by Nick Drozdoff on another forum: http://www.brass-forum.co.uk/Article...heTrenches.htm that may be worth a look as I believe he covers some ways of getting gigs etc. here.

Stephen

beartrumpet74

In the last year I have nearly doubled my gigging income by doing one thing.....
playing classically again. I spent years as a primarily classical player, but time and life moved me in the direction of jazz and commercial music. Jazz is still my first love, but dusting off my C trumpet, taking a couple of weeks worth of lessons from the local trumpet professor, and hitting the church/wedding/brass quintet scene has made all the difference.
I FINALLY bought a new car this year...the first I have had in ten years...a Scion TC sports car....( yes, that's bragging...it's the nicest damn material thing I have ever had...I obssesively wash it twice a week and treat it like a really expensive imported italian job)
SO... to make a short story long... you have to be versitle and open to playing anything that pays a reasonable amount....In addition, it's not enough just to play anymore...I make a substantial part of my money writing music for things....
To get work... go to any gig that is appropriate and at a appropriate time speak with the people playing and introduce yourself.....repeat as needed and BAM!!!
things will start to roll in....
AND...
always be early, wearing the right clothes, and know when to keep your mouth shut...( read- if you are a side man.... this means ALWAYS!)

That's all I know at this point... considering the experience level of the posters in this thread I doubt I have shed any new light... but that's my 2 cents

Peace
Matt

TrentAustin

I know what you mean. I'm coming out of my "retirement" playing Brandenburg #2 in Sept/Oct. and actually have been thinking about getting more into contemporary classical music. Anything to keep the horn fun and food in my fridge ;)

Best,

T

kadleck

TMers-

There are many great ideas here. Matt & Trent spoke on how important it is to be able to play ALL styles are a freelancer. Stephen - thanks for the link to Nick's article ... he had many great points, and I encourage everyone to check it out.

I can only speak of my own experiences. I came to NYC in 1986. All that I wanted was to make a decent living, try to be a nice guy & have some fun playing the trumpet. 20 years later, I don't know if that is still possible. While I still believe that there is work for great players/nice people, the economic conditions here are difficult. Rents are outrageous, commuting is expensive and work is dwindling.

However, if you're willing to play different styles, your stock goes up. Some folks here (NY) would rather sweep floors than play a gig that is "beneath them" artistically. That's fine. Ten years ago, there were certain gigs that I'd "pass on" too, but it's a different world now. I do everything I can, from a free rehearsal (maybe even just to "network") to Carnegie Hall.

My two cents to Zeb (and all), is to be a "jack of all trades" player as much as possible. It may not get you in the NY Phil, but it might keep you from sweeping floors.

Best -

Tony