tag:stevenixonmusic.net,2005:/blogs/music-soul-and-music-sold?p=2Music Soul and Music Sold2018-04-11T05:00:18-05:00Steve Nixon Piano Lessonsfalsetag:stevenixonmusic.net,2005:Post/8149242013-05-24T15:10:00-05:002019-11-19T13:42:47-06:00New Video Piano Lesson On Major Piano Chord VariationsHere's a new video I just shot for the online piano instruction site <a href="http://www.pianolessonsonline.com" target="_new">www.pianolessonsonline.com</a>. It features some cool way to decorate major chords using the 9th. The basic idea behind this piano lesson is to give a player some new ideas when they see basic piano chords in a chord chart. <br><br>
Instead of just playing triads the whole time there are lots of simple ways of creating variations. This provides some different textures and definitely cooler sounds than the plain old triad approach.<br><br>
You can add the 9th in your chords to and play them as block chords or you can also arpeggiate the chord shape too. If you use inversions of these new chord shapes there are even more possibilites. It's a great way of making a lot of music with simple chord progressions. Try it out and I think you'll have a lot of fun with this technique!<br type="_moz">Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106352012-02-01T03:40:52-06:002017-02-01T13:11:29-06:00Chicago Piano Lesson Free Sampler Video Here is another video lesson I just shot. In this particular video lesson I feature a lick by the very famous jazz piano player Bill Evans. I hope you enjoy this video. Shooting these <a href="http://www.freejazzlessons.com">jazz piano lessons</a> has been a great way to share with the community. I hope to teach you all piano in my <a href="http://stevenixonmusic.net/lessons.cfm">chicago piano lessons</a> studio very soon.<br><br><br type="_moz"><iframe width="560" height="315" src="https://www.youtube.com/embed/P355aoaItQE" frameborder="0" allowfullscreen=""></iframe>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106592012-01-05T08:00:00-06:002017-02-01T13:11:33-06:00Chicago Piano Lessons - Jazz Piano Lesson Video Here's another <a href="http://www.freejazzlessons.com/how-to-play-spread-voicings-on-piano-great-jazz-piano-chords/">free jazz lesson</a> I just made. This one was shot in my Chicago Piano Lessons studio. Hope you enjoy and I get to teach you soon. There are a few slots still open for private lessons. Please contact me today to get started.<br><br type="_moz"><iframe width="560" height="315" src="https://www.youtube.com/embed/sJs3JpYZKZw" frameborder="0" allowfullscreen=""></iframe>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106712011-11-06T16:05:00-06:002017-02-01T13:11:35-06:00How To Comp: Two Handed Jazz Blues Chord Lesson Here's a free lesson I just shot for the website www.freejazzlessons.com I really go into depth on how to play rootless <a href="http://www.freejazzlessons.com" target="_new">jazz piano chords</a> and voicings behind a soloist. There's some cool chords and rhythms in there. I'm excited to share it with friends in Chicago and around the world!<br>
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This video lesson combines 2 of my favorite styles. Jazz and Blues. I even throw in a couple gospel chords in there for good measure too! If you're interested in learning more about this style o any other jazz piano information please drop me a line about private lessons.<br>
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Enjoy this video!<br><br><br><iframe width="560" height="315" src="https://www.youtube.com/embed/VTury0nAVzo" frameborder="0" allowfullscreen=""></iframe>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106702011-11-02T14:04:33-05:002017-02-01T13:11:35-06:00Free Jazz Piano Lesson #3 Here's another free video piano lesson I just made for the site <a target="_new" href="http://www.freejazzlessons.com/"><span style="color: rgb(0, 0, 255); ">freejazzlessons.com</span></a><span style="color: rgb(0, 0, 255); ">. </span> In this video I teach you how to play a lick that jazz pianist Barry Harris played over the standard "Green Dolphin" Street. There's some awesome bebop vocabulary in there. Enjoy!<br><br><br type="_moz"><iframe width="560" height="315" src="https://www.youtube.com/embed/v5uYY9uEIYU" frameborder="0" allowfullscreen=""></iframe>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106582011-09-24T09:30:00-05:002017-02-01T13:11:33-06:00Free Jazz Piano Lesson #2Here is another free video lesson I made for <a target="_new" href="http://freejazzlessons.com">freejazzlessons.com</a> <br><br>
This video is a lesson on how to play a turnaround lick. Turnarounds are very common in jazz and this lick and can be used on lots and lots of tunes. Barry Harris made this particular lick idea famous. Enjoy the free lesson!<br><br type="_moz"><iframe width="560" height="315" src="https://www.youtube.com/embed/ptS90FK9tPw" frameborder="0" allowfullscreen=""></iframe>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106222011-09-09T10:30:00-05:002017-02-01T13:11:28-06:00Free Jazz Piano LessonHere's a video I just made for <a target="_new" href="http://www.freejazzlessons.com">www.freejazzlessons.com</a> <br>
It features a very cool jazz piano bebop lick over a minor ii - V - i chord progression. Enjoy!<br><span style="color: rgb(0, 0, 255); "></span><br><br type="_moz"><br><iframe width="560" height="345" src="https://www.youtube.com/embed/32FIbZDWmOE" frameborder="0" allowfullscreen=""></iframe>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106692011-07-24T13:20:00-05:002019-11-19T13:49:17-06:00Paying It Forward<p>When I graduated Berklee in 20002 they had a great career assistance program in place. This program allowed recent grads to get in touch with successful musicians who were living in the city the recent graduate was planning on moving to.<br> <br> <br>I didn't know very much about Chicago nor did I know much about the music business here. I just knew I wanted to be there. I received many great tips along the way about the best neighborhoods to live in, restaurants to eat at, how to avoid parking tickets, how to get around the city, and much more. Most importantly, they shared with me some great tips on where were the places to go to get my music career moving on the fast track and which places were "dead ends" so to speak. I'm quite certain they saved me hundreds of hours of wasted time. They contributed to my success immeasurably.<br> <br> <br>Fast forward to today. A reader by the name of Justin contacted me saying he wanted to move to Chicago to start his music career. We spoke at length for about an hour about music and doing music successfully in Chicago. I can never forget the help I received along the way. I can only hope I was able to help Justin make his decision a bit easier for him. We talked about musicianship, life decisions, the benefits of hard work, having a great support network in the music community, and <a contents="marketing strategy" data-link-label="" data-link-type="url" href="https://strategysamurai.com/" target="_blank">marketing strategy</a>. It really was a fantastic conversation. <br><br>My parents instilled in me a concept called <span style="color: rgb(0, 0, 255); "><b><a href="http://en.wikipedia.org/wiki/Pay_it_forward" target="_new">"paying it forward"</a> </b><span style="color: rgb(0, 0, 0); ">The basic concept is helping others in repayment of sorts for the help you've received in previous times.</span><b> </b></span><span style="color: rgb(0, 0, 0); ">I can only hope I was able to satisfy that principle today. </span></p>
<p><span style="color: rgb(0, 0, 0); ">I truly hope that our conversation inspired you and that you also continue to pay it forward with other young musicians who need some guidance at one point in their career. Never forget the value of hard work and soulful music. </span></p>
<p><span style="color: rgb(0, 0, 0); ">On additional point I want to make. If you're smart and hard working, you'll be fortunate enough to find success. But, never rest on your laurels. Sometimes once musicians establish regular gigs they can get a little complacent. Just remember that everything beautiful (both artistically and in your career) can happen if you continue to strive a little further. Never ever lose that philosophy. Do not get complacent! Even if you feel like, "you've made it". Remember, there's always more that you can learn. Music is an artform that will enthrall you can push you for the rest of your life. There is ALWAYS more to explore. </span></p>
<p><span style="color: rgb(0, 0, 0); ">Continue to work on your craft (otherwise known as practice everyday). Don't be afraid to make big goals and swing for the fences. Every cool musical opportunity I've ever had in my life has come from pushing myself a bit past my comfort zone. Get used to destroying this concept of the comfort zone and don't fall into the classic musician ego trap. </span>Good luck Justin and Chicago welcomes you!</p>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106682011-07-21T12:30:00-05:002018-02-15T03:56:42-06:00How To Choose the Right Piano Teacher Article #1Many future piano students are overwhelmed by finding the right piano teacher.<br>
Finding a teacher that understands your individual goals and can help you achieve them can seem very difficult. Here is just a few tips to assist you in selecting the best piano teacher for you. <br><br><div style="text-align: left; ">
<br><u><b>1. Choose a teacher with lots of professional performance experience. </b></u><b><br></b><br>
If you study with a teacher who has very little experience in the real world of performance they are teaching based off of what they think "may" work. On the other hand if your teacher has performed thousands of performances they are sure to know the tried and true techniques to help you learn piano at the highest level. <br><b>Tip:</b> Make sure your teacher has a performance resume. There should be names on there of people you have heard of before!<br><br><br><u><b>2. Find a teacher with a degree from a top level music conservatory (Berklee College of Music, New England Conservatory, Julliard School of Music, Eastman School of Music)<br><br></b></u>The difference of studying piano with a conservatory trained piano teacher and somebody without one of these degrees can be astounding. Conservatories only accept the most talented and focused of musicians and teachers. You can ensure that when you learn from a conservatory trained musician you are learning the most detailed, most structured, and rich approach to learning music. Your time, future talent, and passion is very important. <u><b><br></b></u><br><br><u><b>3. Make sure the piano teacher instructs the styles of music you enjoy.<br></b></u><br>
If you love blues, rock and jazz then why would you study with an instructor who only plays classical music. Most teachers who primarily teach classical don't understand the modern method of learning, teaching, and performing popular music. Make sure your teacher can teach you various styles of music based off your individual interests.<br><br><br><u><b>4. Find a teacher who has written many articles, books, or published instructional videos to ensure their teaching expertise.</b></u><br><br>
It is a great sign when a teacher has created their own education material. It takes thousands of hours to create high level educational content. Therefore, you know a teacher has put in many hours into crafting their skill as a music educator.<br><br><br><u><b>5. Make sure your teacher has a success rate with their students that matches your goals<br></b></u><br>
It is important that your teacher can help your achieve your goals. For example, If your goals is to play piano for a church make sure your teacher has a history of teaching their students how to achieve this. <br><br><br><br><span style="font-size: medium; ">For more tips on choosing the right piano teacher in the Chicago area click </span><a target="_new" href="./lessons.cfm"><span style="font-size: medium; "><span style="color: rgb(0, 0, 255); ">Here</span></span></a><br><br><br><br><br>
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<br><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106672011-07-09T13:55:00-05:002011-07-09T13:55:00-05:00New Location For Chicago Piano Lessons Hey Friends,<br>
Just a quick note. I have moved my Chicago Piano Lessons Studio to the Old Irving Neighborhood in Chicago. I am super excited by the new studio set up. It really is a dream come true. The piano studio is still easily accesible by the Blue Line and 90/94. I look forward to continuing to offer the highest quality piano lessons in my new spot. Thanks!Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106662011-05-12T20:10:49-05:002011-05-12T20:10:49-05:00Finding A Way To Communicate Your Message Through The ArtsI just watched this really great video by conductor and pianist Benjamin Zander. We need more people like Benjamin Zander who have the rare ability to be able to communicate through their playing and their words. Music as an artform would be in much better place if we had more people with his skills. <br><br type="_moz"><object width="446" height="326"><param name="movie" value="http://video.ted.com/assets/player/swf/EmbedPlayer.swf">
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<embed src="http://video.ted.com/assets/player/swf/EmbedPlayer.swf" pluginspace="http://www.macromedia.com/go/getflashplayer" type="application/x-shockwave-flash" wmode="transparent" bgcolor="#ffffff" width="446" height="326" allowfullscreen="true" allowscriptaccess="always" flashvars="vu=http://video.ted.com/talks/dynamic/BenjaminZander_2008-medium.flv&su=http://images.ted.com/images/ted/tedindex/embed-posters/BenjaminZander-2008.embed_thumbnail.jpg&vw=432&vh=240&ap=0&ti=286&lang=&introDuration=15330&adDuration=4000&postAdDuration=830&adKeys=talk=benjamin_zander_on_music_and_passion;year=2008;theme=speaking_at_ted2009;theme=presentation_innovation;theme=live_music;theme=spectacular_performance;event=Spectacular+Performance;tag=Arts;tag=Culture;tag=Entertainment;tag=buddhism;tag=creativity;tag=leadership;tag=live+music;tag=music;"></embed></object>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106652011-05-05T23:15:00-05:002011-05-05T23:15:00-05:00Mr. Barry Harris: A force to reckon with<a target="_new" href="http://en.wikipedia.org/wiki/Barry_Harris"><span style="color: rgb(0, 0, 128); "><b>Barry Harris</b></span></a> is one of my heros. Not only is he just a truly phenomenal piano player but he was also one of the first jazz educators ever. Barry is 81 years old and still teaching in NYC. His love and commitment for helping others learn music is second to none. Thank you Barry for your inspiration.Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106642011-04-18T20:12:07-05:002017-02-01T13:11:34-06:00Learn Some Otis Spann LicksHere is a very cool video I just found. It's of Otis Spann playing his "Spann's Blues". There are some phenomenal blues licks in this video and the first chorus is a close up of his hands. Spend some time learning these blues licks my friends. Otis Spann was perhaps the greatest Chicago Blues Piano Player of all time. Enjoy!<br><br><br type="_moz"><iframe title="YouTube video player" width="480" height="390" src="https://www.youtube.com/embed/tnAqQ1zXihQ" frameborder="0" allowfullscreen=""></iframe>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106632011-04-09T10:30:00-05:002017-01-12T19:48:55-06:00Thoughts On Becoming An Expert Piano Player<div style="text-align: center; "><img src="//d10j3mvrs1suex.cloudfront.net/u/45854/5b02787c65db058d12c5b3b17b2402707955bb55/original/imgres.jpeg?1377620126" class="size_orig justify_inline border_" alt="" height="194" width="259" /></div>
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I’ve always believed people have unlimited potential for learning music. If they put the time in to really develop themselves anything is possible. For years I’ve conquered limitations within my own musical development and have helped my piano students consistently do the same for themselves. <br><br>
The problem that comes in is that most people aren't focused enough to actually put in time consistently for the long haul. So, instead of actually exploring their own talent deeply and completely they'll take the easy path. They'll "practice" or at least try to play their instrument for a few months. Of course most of this time is unfocused and unstructured. After they run into they're first plateau they immediately feel like they have found their final stopping point. They'll say things like, " I just don't have it" or " I don't have any talent" or "that person is just born with it and I'm not" or "I'm just not a natural". <br><br>
Becoming an expert at an instrument is really about finding ways to navigate past plateaus in your development. This process repeats itself over and over and that's where the real talent and skill is built. The pyschologist <a target="_new" href="http://en.wikipedia.org/wiki/K._Anders_Ericsson"><span style="color: rgb(0, 0, 255); "><b>K. Anders Erricson</b></span></a> has done some amazing research into the field of expertise. One of Erricson’s main points is that it takes 10,000 hours of study to become a true master or virtuoso at a skill. The vast majority of people I encounter who limit their own potential haven't even put in 500 hours of study yet. How can you make such a broad generalizations of human potential if you've not put in anywhere near the time necessary for deep skill building?Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106622011-04-07T12:10:00-05:002017-02-01T13:11:34-06:00Awesome jazz singing and scatting.... This brought me such joy when I listened to this. I have to share it with you guys. Here's a video of Ella Fitzgerald and Mel Torme scatting together at the Grammy's in 1976. This is some of the most awesome scatting I've ever heard. Two of the greatest jazz singers of all time bringing the house down. Enjoy!<br><br><br><br><br><iframe title="YouTube video player" width="480" height="390" src="https://www.youtube.com/embed/LBBj4df1c-o" frameborder="0" allowfullscreen=""></iframe>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106612011-04-05T12:25:00-05:002011-04-05T12:25:00-05:00Stella By Starlight TranscriptionI'm going to start posting some jazz solos that I've transcribed. Here's Ulf Wakenius' solo on "Stella By Starlight". This is off Ray Brown's album "Seven Steps To Heaven". Enjoy!<br><a target="_new" href="/files/39382/Stella-By-Starlight-Transcription.pdf"><span style="color: rgb(0, 0, 255); "><b><br>
Click here for solo</b></span></a><span style="color: rgb(0, 0, 255); "><b> </b></span>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106602010-12-03T20:40:26-06:002016-03-09T16:16:16-06:00Dealing With Stage Fright At A Recital Or Gig.Do you get nervous before you perform? Have you avoided any opportunities to perform for fear of making mistakes in public? You're not alone. Fortunately, there are some really effective strategies to overcome your fear of playing in front of an audience. When practiced properly performance becomes a true pleasure. <br><br>
Playing at a recital becomes much easier if you practice the art of performing. One way to practice performing is to do it in an incremental way. You can actually study peformance in a strategic fashion. Here are just a few of the things I suggest my students do before their recitals.<br><br><br>
1. Perform for at least 5 separate people before the recital date.<br>
2. Develop a consistent pre performance ritual (like athletes do) to help bring about focus, clarity, and stable emotions<br>
3. Record themselves at least 3x before the recital.<br>
4. Play their pieces on at least 3 separate pianos.<br><br>
Essentially, you're getting comfortable with the unique emotions that arise during performance.<br><br>
Just remember the lesson and the practice room is the laboratory. The performance is the real thing. It's the such an amazing way to grow your skills and your art.<br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106572010-10-05T06:10:14-05:002010-10-05T06:10:14-05:00New Music Career Mentoring Program Almost in PlaceThis has been a really crazy, stressful, interesting few weeks. In addition to maintaining a really intense gigging schedule recently, my behind-the-scenes team has been working day and night to put together my new Music Career Mentoring program.<br><br><br><br>
It’s an exciting new step for all the people who are part of my team. I’m going to be able to offer my elite level career mentoring as part of a fully planned-out program that I’m ready to implement. <br><br><br><br>
It’s been the natural next step for me. I’m really enjoying helping talented musicians with their careers, and I love the idea of working with musicians to get them to their next career level. It’s amazing to give someone some of the insights I’ve received over the years, and watch them use it to their advantage.<br><br><br><br>
I really think this is a big part of my calling, and I’m glad to be able to make it work for so many amazing students. I’m ready to bring more people to their success, and am looking forward to all the opportunities the new site brings.<br><br>
So stay tuned! This is going to be a really action-filled next two weeks. I’ll be announcing my new site and doing some formal press releases next week once everything is in place. I would love your feedback on what we’re currently doing, and am looking forward to sharing music career mentoring with anyone who’s interested - even some seasoned folks out there who are looking to improve on their existing methods.<br><br><br><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106562010-09-20T15:21:33-05:002010-09-20T15:21:33-05:00GUEST POST: Karate-Chop Your Music and Your Life<i>The following is a guest post by Mark Powers. Mark is a world percussionist and world traveler who blogs for creative-types at </i><a href="http://www.powerspercussion.com" target="_new"><i>PowersPercussion.com</i></a><i>. In addition to performing and teaching, Mark has released </i><a href="http://www.powerspercussion.com/products" target="_new"><i>Ritimista</i></a><i>, a world percussion play-along CD and is former co-holder of the Guinness World Record for Longest Drum Roll by a Group. <br></i><br><br>
I don’t know that <a href="http://jameswingwoo.com/2000/12/01/brief-history/" target="_new">James Wing Woo</a> has ever strummed a guitar or tapped a drum. But I do know that the legendary Kenpo Karate Master (who turns 88 years old next week) has often spoken words that can prove valuable to all of us, in both musical and non-musical areas of our lives. Let’s begin by meditating on this simple, yet powerful, gem:<br><span style="font-size: medium;"><br></span><a href="http://stevenixonmusic.blogspot.com/2010/09/guest-post-karate-chop-your-music-and.html" target="_new"><span style="font-size: medium;">CLICK HERE TO READ MORE!</span></a><span style="font-size: medium;"><br></span><br type="_moz">Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106552010-09-17T03:15:00-05:002018-04-11T05:00:18-05:00Music Career Longevity<img src="//d10j3mvrs1suex.cloudfront.net/u/45854/d8a36857391de59ef8b389c0b28a4d3b56926816/thumb/STANDOFF.jpg?1377620126" class="size_orig justify_left border_" alt="" height="125" width="98" />Many people make the mistake of stopping their search for music work once their students or gigs reach their peak. Even if you have enough income coming in, it can’t hurt to continue trying to expand your music work for the future. The business side of music never stops and growth is essential.<br><br>
Think of your music career as a flower. Even if your flower is in full bloom you must continue to water it every day. No matter how beautiful the flower currently may be if you don’t water it consistently it will wither away and die.<br><br>
You must apply the same approach to your music business. Work to nurture your relationships and expand your music business reach and connections on a daily basis.<br><br><br><a href="http://stevenixonmusic.blogspot.com/2010/09/ready-to-go-full-time-with-music.html">Click Here to Read More!</a> <br><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106542010-09-07T05:00:43-05:002010-09-07T05:00:43-05:00Learning Left Hand Blues PatternsI am going to spend the next few weeks discussing some of the left hand blues piano patterns I teach in <a href="http://www.stevenixonmusic.net/learnbluesdvd.cfm">my new piano blues DVD.</a> The first pattern I discuss in my video is just a simple quarter note boogie woogie pattern. It's a great pattern to play in both rock and blues settings. Simple and really effective.<br><br><br><a href="http://stevenixonmusic.blogspot.com/2010/09/left-hand-blues-patterns.html">Click Here to Read More</a>
<br type="_moz">Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106532010-09-01T03:53:18-05:002010-09-01T03:53:18-05:00How a Mindmap Can Help You Become A Better Musician<a href="http://stevenixonmusic.blogspot.com/2010/09/how-mindmap-can-help-you-become-better.html" target="_new">I've experienced some really dramatic changes in my music business over the last month...</a><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106522010-08-25T04:05:31-05:002017-01-12T19:48:55-06:00Learn Chicago Blues Piano with Steve Nixon Now Available!<img src="//d10j3mvrs1suex.cloudfront.net/u/45854/4c76241255175a9d9638f54e0f6233717c7667ab/thumb/boxart1.jpg?1377620126" class="size_orig justify_left border_" alt="" height="125" width="92" />My new piano instructional DVD is finally here. Thousands and thousands of hours of performance, study, and teaching have gone into the making of this video. I'm delighted to share my passion for blues music and piano education with you.<br>
I made this DVD to be a valuable learning tool for many players out there, and players of all levels can benefit.<br><br>
Here are just some of the subjects I talk about in the video.<br>
1. Blues Theory and Application<br>
2. Right and Left Blues Hand Patterns<br>
3. Blues Rhythms<br>
4. Blues Vocabulary<br>
5. Licks and Variations<br>
6. Hand independence – something difficult for players of any level to grasp, but very achievable through the detailed method and practice tools in the video<br>
7. Improvisation: Learn to construct your own unique killer blues licks<br>
8. Practice : Structuring your blues piano practice for maximum performance<br>
9. Music career advice – How to apply your blues chops in the real world of professional performance<br>
10. Notation of left and right hand patterns that can be downloaded as a .pdf - RiGHT OFF THE DVD!<br>
12. ... and a lot more!<br><br><a href="http://stevenixonmusic.blogspot.com/2010/08/learn-chicago-blues-piano-with-steve.html">Click Here to Read More!</a>
<br><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106342010-08-17T11:59:48-05:002019-11-19T05:05:26-06:00Android Phone for Musicians?Yesterday I traded my Blackberry in for a Google Android phone. It’s a little hard to believe, even for me. I loved my Blackberry, and got some pretty extensive use out of it. I was hearing great things about Android, particularly for musicians, and I was ready to make the leap. <br><br>
To be honest the jury’s still out on whether or not the Android is for me – I plan to give it 30 days, and swap my Android for my Blackberry if I don’t find it useful. I want to make sure that I’m not going to be more distracted by this thing as opposed to saving time. I’ll let you know how the experiment goes!<br><br><a href="http://stevenixonmusic.blogspot.com/2010/08/android-phone-for-musicians.html"><span style="font-size: larger;"><span style="color: rgb(0, 0, 128);">Click here to read more!</span></span></a><br><br><br><b>Subscribe now, and get Updates from my Blog!: <span style="font-size: larger;"></span></b><br><p><b><a rel="alternate" type="application/rss+xml" href="http://feeds.feedburner.com/MusicSoulAndMusicSold"><img src="//www.feedburner.com/fb/images/pub/feed-icon32x32.png" class="size_orig justify_inline border_" alt="" style="vertical-align: middle; border: 0pt none;" /></a> <a href="http://feeds.feedburner.com/MusicSoulAndMusicSold"><br></a></b></p>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106512010-08-12T09:10:00-05:002017-01-12T19:48:55-06:00My instructional DVD "Steve Nixon's Learning Chicago Blues Piano" shipping in 1 week The final proof for my new instructional DVD "Learning Chicago Blues Piano" arrived today. It looks great!! I should have the finished DVD ready in about a week!<img src="//d10j3mvrs1suex.cloudfront.net/u/45854/31e054e1d66fa9a337f71c0aadee4ebc09c428a1/medium/Steve-Nixon-Learning-Chicago-Blues-Piano-DVD-Cover.jpg?1377620126" class="size_orig justify_inline border_" alt="" height="201" width="300" /><div style="text-align: center; ">You Can Preorder Your Copy <span style="color: rgb(0, 0, 255); "><b><a target="_new" href="./store.cfm"><span style="color: rgb(0, 0, 255); ">Here</span></a></b></span>
</div>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106502010-08-11T08:45:00-05:002017-01-12T19:48:55-06:00Cool Technology Tips for the Serious Practicing Musician #1<img src="//d10j3mvrs1suex.cloudfront.net/u/45854/8fe6f38a0e606ad2b34c310fcd9b9e3dfbc1cffa/thumb/headpho.jpg?1377620126" class="size_orig justify_left border_" alt="new music technology" height="94" width="125" />In my last post I talked about the dangers of too much technology. In the spirit of fairness and alternative viewpoints I'd like to talk about some ways technology can help us as musicians as well. Technology can be an amazing gift for practicing musicians if used the right way. It seems like every day, another cool, unique tool is hitting the market for musicians to use. Today, I am talking specifically about tools that help musicians practice. Technology used in connection with disciplined practice habits can really open huge doors for you.<br><br>
There’s so much out there that allows a musician to build a studio online – why not integrate some of these great tools into your own practicing?<br><br><b>1. Google Docs</b> (<a target="_new" href="http://docs.google.com"><b><span style="color: rgb(0, 0, 128);">http://docs.google.com</span></b></a>)<br><br>
For starters, Google Docs is a great tool that just about anyone can use. You can use Google’s tools from anywhere, they’re free, and you’ll be able to access all your documents all in one place. You can use Google Docs to organize transcriptions, setlists, practice logs, PDFs, Fake Books, and even keep scans of music in one place. If you have a laptop or a smart phone you can bring with you to a rehearsal or a gig you’ll always have access to your documents.<br><br><b>2. Flip Mino </b>(<a target="_new" href="http://www.theflip.com"><span style="color: rgb(0, 0, 128);"><b>http://www.theflip.com</b></span></a>)<br><br>
The Flip Mino is an excellent little camera that’s cost-effective, sturdy, and extremely portable.<br><br>
If you’re looking to record yourself practicing, the Flip is a great little camera.<br><br>
Wondering why you just can’t nail the transition into the bridge of the new song you’re working on? Video record yourself playing it and then take a look. You can now quickly take a look at what your body is doing during that time. Sometimes we’re thinking so much about the notes that’s it hard to notice every detail of our technique. Play back the recording and bam.....super quick feedback on your technique. Serious practice problems can be fixed in minutes. I’ve done this many times and it’s really improved my technique.<br><br>
It even comes in HD, so you can grab the highest video quality of yourself playing possible. This could also be extremely handy to use in your own promotional materials.<br><br><b>3. Audacity</b> (<a target="_new" href="http://audacity.sourceforge.net"><span style="color: rgb(0, 0, 128);"><b>http://audacity.sourceforge.net</b></span></a>)<br><br>
Mac users have GarageBand, but PC users have an open source recording suite at their fingertips that’s actually quite advanced – being that it’s free. Audacity had plenty of downloadable plugins you can use to manipulate sound, create mp3s, and work with your own VST libraries. If that weren’t enough, programmers are constantly working on the project, so you are assured updates will happen in a timely fashion.<br><br><br><b>4. Metronome Online (<a target="_new" href="http://metronomeonline.com">http://metronomeonline.com</a>)</b><br><br>
This is a handy tool, along with many other handheld metronome and even tuning apps on smartphones for musicians. It’s the kind of thing you can take with you or access anywhere, as long as you have your phone on you. For those musicians likely to get frustrated and damage their metronomes, trust me – you’re far less likely to drop your iPhone or hurl it against a wall when you just can’t get the timing right.<br><br><br><b>5. Roni Online (<a target="_new" href="http://www.ronimusic.com/">http://www.ronimusic.com/</a>)</b><br><br>
Roni makes some great audio software, such as the “Slow Downer” that can be used to transcribe music, loop sections, and slow down difficult passages. I use this program all the time. <br><br>
There are also plenty of midi converters and other neat toys available on the website for musicians to use.<br><br>
There’s so much new information out there, and more coming all the time. Even a few years ago, you couldn’t get a free piece of recording software or access a metronome on your computer unless you had a special program. Life is good for musicians these days who have tons of new technology to lean on – Why not use it and increase the efficiency of your practicing and playing?<br><br><span style="font-weight: bold;">For more information on taking your music career to the next level, visit <a href="./careermentoring.cfm"><span style="color: rgb(0, 0, 128);"><b>http://www.stevenixonmusic.net/careermentoring.cfm.</b></span></a></span><span style="color: rgb(0, 0, 128);"><span style="font-size: larger;"><b><br><br>
Subscribe now, and get Updates from my Blog!: </b></span></span><span style="font-size: larger;"></span><br><p><b><a rel="alternate" type="application/rss+xml" href="http://feeds.feedburner.com/MusicSoulAndMusicSold"><img src="//www.feedburner.com/fb/images/pub/feed-icon32x32.png" class="size_orig justify_inline border_" alt="" style="vertical-align: middle; border: 0pt none;" /></a> <a href="http://feeds.feedburner.com/MusicSoulAndMusicSold"><br></a></b></p>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106492010-08-04T07:25:00-05:002017-01-12T19:48:55-06:00Turn Off Your Crackberry and Create Something!<img src="//d10j3mvrs1suex.cloudfront.net/u/45854/fbcd3f75f941b4fa7e331e15b091094951d92a62/thumb/cell.jpg?1377620125" class="size_orig justify_left border_" alt="turn off your crackberry" height="125" width="94" />Today we get so caught up in technology that we forget how important creativity is to what we do. For many people the barrage of email, Facebook messages, Twitter, text messages, and other types of electronic communications have taken over their lives. It’s getting harder and harder to find that uninterrupted time to do good creative work like practicing your instrument, writing songs, making art, and even just living a healthy life. Being accessible 24 hours a day and constantly being distracted by technology is a disastrous thing for creative people.<br><br>
My whole music career has spawned from one simple concept. Uninterrupted time alone with my instrument. In other words.....PRACTICE. Every gig I’ve ever played, every student who’s ever wanted to study with me, and every audience member I’ve ever inspired have all arrived in my life because I sat down alone and worked consistently on my craft. <br><br>
If you catch yourself spending more time with your Blackberry than you do with your instrument, maybe it’s time to consider another approach.<br><br>
Tell technology to shut up for a few minutes, and be alone with your instrument, the sooner you start the better. Put aside a small block of time each day to practice and create.<br><br>
Turn off your phone, turn off your Internet connection for awhile, and shut the door. You’re a musician who LOVES to play and create with your instrument. When you make great music everything else in your music career will manifest from there. Never forget that.<br><br>
For more info on how to better utilize your practice time and make music more than a hobby, please visit my <a target="_new" href="./careermentoring.cfm"><span style="font-size: larger;"><span style="color: rgb(0, 0, 128);">Music Career Help page.</span></span></a><br><br><span style="color: rgb(0, 0, 128);"><span style="font-size: larger;"><b>Subscribe now, and get Updates from my Blog!: </b></span></span><span style="font-size: larger;"></span><br><p><b><a href="http://feeds.feedburner.com/MusicSoulAndMusicSold" rel="alternate" type="application/rss+xml"><img src="//www.feedburner.com/fb/images/pub/feed-icon32x32.png" class="size_orig justify_inline border_" alt="" style="vertical-align: middle; border: 0pt none;" /></a> <a href="http://feeds.feedburner.com/MusicSoulAndMusicSold"><br></a> <br><br></b></p>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106482010-08-02T06:23:46-05:002017-01-12T19:48:55-06:00Guest Post: Increase Your Music Teaching BusinessToday, I published another guest post over at Music Teacher's Helper: <a target="_new" href="http://www.musicteachershelper.com/blog/online-tools-to-increase-your-music-teaching-business/">"Online Tools to increase Your Music Teaching Business"</a>. I discuss some online tools you may not know about that will increase your student base, solidify your rep, and expand your reach as a teacher.<br><u><br>
For readers of my blog</u>, consider the info I presented a great way to extend your branding of yourself as a teacher. Using mentoring advice and some other techniques listed here on my site, you can build a global power house studio showcasing your own techniques and student base.<br><a target="_new" href="http://www.musicteachershelper.com/blog"><u><br>
For readers of the Music Teacher's Helper blog</u></a>, the applications mentioned are an amazing way to add to the management of your studio in conjunction with the excellent Music Teacher's Helper management tool, which is really the best out there.<br><br><b>Subscribe now, for more helpful career and teaching management advice!</b><br><p><b><a href="http://feeds.feedburner.com/MusicSoulAndMusicSold" rel="alternate" type="application/rss+xml"><img src="//www.feedburner.com/fb/images/pub/feed-icon32x32.png" class="size_orig justify_inline border_" alt="" style="vertical-align: middle; border: 0pt none;" /></a> <a href="http://feeds.feedburner.com/MusicSoulAndMusicSold"><br></a> <br>
Here are a few more articles, both from my blog and the Music Teacher's Helper blog, that will help you manage your studio and reputation more efficiently.<br><br><br><a href="http://www.musicteachershelper.com/blog/mistakes-are-information/" target="_new">Mistakes Are Information</a><br><a href="http://www.stevenixonmusic.net/blog.cfm?feature=255281&postid=371469" target="_new"><br>
Musicians - How to Make Your Website More Manageable</a><br><br><a href="http://www.musicteachershelper.com/blog/studio-newsletters/">Studio Newsletters</a><br><br><a href="http://www.stevenixonmusic.net/blog.cfm?feature=255281&postid=351747" target="_new">Who Influences Your Music Career?</a><br><br><br></b></p>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106472010-07-27T08:45:00-05:002017-01-12T19:48:55-06:00Musicians - How to Make Your Website More Marketable<img src="//d10j3mvrs1suex.cloudfront.net/u/45854/d56caf2894a2c824085a1a765a0454d6cc61b825/thumb/keyboard.jpg?1377620125" class="size_orig justify_left border_" alt="music career mentoring" height="83" width="125" /> Musicians are often folks on a low to no-budget plan when it comes to marketing. Plenty of people would rather craft a website themselves or have a friend do it for free than pay a webmaster a few hundred bucks or more to make one. While I have no argument whatsoever against saving money, having a website sufficient to meet the needs of your product is absolutely essential to moving forward in your career.<br><br>
In 2010, the top two income streams for independent recording artists comes from record sales and live show ticket/merch sales. Yet, you’d be surprised how many artists don’t have their touring or live gig info easily available on their websites. You’d also be surprised at how many artists don’t have their music readily available to stream and to purchase on their websites.<br><br>
If your music is your product, it’s very important that your intended audience be able to reach that music literally within seconds of getting to your website. Go with the five second rule – if it takes more than five seconds for a user to find out 1) Your band name, 2) A functional button to stream your music, and 3) Where you’re playing next, you might as well go ahead and send the user on to the next website. Not being able to capture a user’s attention in under five seconds greatly increases the chances of your new potential fan to leave your site.<br><br>
Monitor your own browsing habits the next time you’re on a website. If you don’t find what you’re looking for, how quickly do you exit? If you’re required to click through several pages to get to the product, you’re likely to go somewhere else and complete a purchase from a vendor who’s made it easy. Music is, unfortunately, enough of a commodity in the mind of certain fans that he or she isn’t going to click throughout your site looking for something just for the sake of art. Trust me – if you have a kickass live show and/or a great CD worth selling, you want to make it easy to find.<br><br>
Musicians tend to obscure their “product” by creating an artsy website that showcases the band’s image as opposed to the “product” (the music). I’m completely supportive of having a really cool and artistic website but economic and brand function should never be ignored.<br><br><br><a href="http://www.stevenixonmusic.net/careermentoring.cfm"><span style="font-size: larger;"><span style="color: rgb(0, 0, 128);">Music career mentoring could be just what you need.</span></span></a>Get active about your music career now, set your goals, and prepare to succeed!<br><br><br><b><br></b><span style="color: rgb(0, 0, 128);"><span style="font-size: larger;"><b>Subscribe now, and get Updates from my Blog!: </b></span></span><span style="font-size: larger;"></span><br><p><b><a type="application/rss+xml" rel="alternate" href="http://feeds.feedburner.com/MusicSoulAndMusicSold"><img src="//www.feedburner.com/fb/images/pub/feed-icon32x32.png" class="size_orig justify_inline border_" alt="" style="vertical-align: middle; border: 0pt none;" /></a> <a href="http://feeds.feedburner.com/MusicSoulAndMusicSold"><br></a> <br></b></p>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106462010-07-20T15:54:19-05:002017-01-12T19:48:54-06:00Musicians Looking to Relocate – Go Where the Money Is!<img src="//d10j3mvrs1suex.cloudfront.net/u/45854/46fba5d62085005bc65db6c5ffac9d3e307b2613/thumb/smalltown.jpg?1377620125" class="size_orig justify_left border_" alt="Music Career Advice: Set Your Sights on a Smaller Town!" height="125" width="83" />Plenty of people are working on starting a music career by moving to bigger music towns – Los Angeles, New York, Nashville, Chicago and Austin, to name a few.<br><br>
There are also many musicians looking for music career advice, who are living in small towns and getting ready to relocate to a town with a thriving music community – or at least, it seems like the town is a musical metro.<br><br>
Here’s a thought – maybe moving to a larger town with a “great” music scene isn’t going to help your career. In fact, if you’re looking to launch a music career, it could be a real career killer.<br><br>
First, there’s the competition. It’s very likely that in moving to a larger town, you could get lost in the mix of many musicians who are competing for the spotlight – and more importantly, for money. When club owners know they have a pool of talented musicians to pick from, the likelihood of finding a regular, well-paying gig decreases. <br><br>
This also holds true if you’re giving lessons. There might be a ton of music studios out there, but you can be sure you might deal with parents and store owners who don’t have the kind of money to throw around that you’re looking for. One of the most important tasks of an independent musician, whether a teacher or performer, should always be figuring out where the best source of income is, and how to tap into that.<br><br>
If you’re looking for music career advice, here’s a unique perspective to consider: Move to a town where the average income is high, and where the average clientele can afford to pay what you’re worth for lessons.<br><br>
This is actually true of any musical endeavor you’re charging for - gigs at a club, at weddings and high end events – pretty much anything you want to do musically will be so much more profitable if you’re located near people who can afford your talent.<br><br>
Starting a music career in a small town isn’t necessarily easy, but if it’s a small town where people love music, have an appreciation for the arts, and have money to spend, you could find yourself making six figures easily being the “go-go guy” (or girl!)<br><br>
America’s highest earning cities include Washington, DC – where there are plenty of lush suburbs such as Bethesda or Chevy Chase, Maryland – and plenty of places for you to go into the city and play if needed. Parents of these communities may not necessarily want to trot their kids into the cities for lessons. If you’re looking for financial help with your music career, your talents would serve you well in a community like Bethesda.<br><br>
A smaller place like Hartford, Connecticut, is still a city, without being one of the size and competition offered by a place like Los Angeles. You’ll also be likely to land a gig near any resort town, particularly if the residents of the community are higher income folks. Even if we’re talking about a really small town, you can succeed if the money’s right. It doesn’t matter how great the city’s musician seen is. If there is no money in the city it will be extremely challenging to make a living.<br>
So, if you’re looking for music career help and thinking of relocating…. Go where the money is! <br><br>
According to CNN here are a list of the top 25 earning towns.<a target="_new" href="http://money.cnn.com/galleries/2010/moneymag/1007/gallery.best_places_top_earning_towns.moneymag/index.html%20"><span style="color: rgb(0, 0, 255);">http://money.cnn.com/galleries/2010/moneymag/1007/gallery.best_places_top_earning_towns.moneymag/index.html </span></a><br><br>
Steve Nixon is pleased to give more music career tips and advice Check out <a target="_new" href="./careermentoring.cfm"><span style="color: rgb(0, 0, 255);">http://www.stevenixonmusic.net/careermentoring.cfm.</span></a><br><b><br>
Subscribe now, and get Updates from my Blog!: </b><br><p><b><a href="http://feeds.feedburner.com/MusicSoulAndMusicSold" type="application/rss+xml" rel="alternate"><img src="//www.feedburner.com/fb/images/pub/feed-icon32x32.png" class="size_orig justify_inline border_" alt="" style="vertical-align: middle; border: 0pt none;" /></a> <a href="http://feeds.feedburner.com/MusicSoulAndMusicSold"><br></a> <br><br><br><br></b></p>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106452010-07-10T12:55:00-05:002017-01-12T19:48:54-06:00Who Influences Your Music Career?<img src="//d10j3mvrs1suex.cloudfront.net/u/45854/5b02787c65db058d12c5b3b17b2402707955bb55/original/imgres.jpeg?1377620126" class="size_orig justify_inline border_" alt="" height="124" width="124" />I’ve always been a huge basketball fan and see lots of parallels between professional basketball and professional music. So, it was with great interest that I tuned in to watch Lebron James announce “The Decision” on Wednesday night. I wanted to see how Lebron navigated his basketball career choice. Could I apply anything from the situation to my music career? <br><br>
For over two years leading up to this night the media had obsessed over which team Lebron would sign with. Thousands of articles and tweets were written asking this question: Who influences Lebron? The answer to this question is sort of shocking. It’s amazing to realize that Lebron, being one of the most powerful men in the world, has advisors. He does though. In fact, they were a deliberate and carefully chosen group of people. <br>
On the level Lebron is at there is no room for decisions to be made on a mediocre level. They have to be GREAT decisions.<br><br>
I’ve never set a goal of mediocrity either. From Day 1 I knew that I had to control who gave me advice. I didn’t want the same old mediocre results that most musicians get. <br>
On the musical level I’ve had many different musical advisers. Two in particular are <b><a href="http://www.brucekatzband.com" target="_new">Bruce Katz</a></b><b> </b>(from Greg Allman’s Band) and <a href="http://www.jimtrompeter.com" target="_new"><b>Jim Trompeter</b></a> (from Gloria Estefan and Miami Sound Machine). Both have been hugely influential on me. Both of these guys play on a world-class level. It was a simple decision. I love their music and I wanted to be where they were. Their advising and influence over the years has helped me get to where I am today in my music career.<br><br>
On the music business level I’ve been really careful who I’ve taken influence from as well. In fact I’ve been even more cautious. There are plenty of people who’ve given me “advice” over the years. A lot of the “advice” may have been well intentioned but often times a cookie cutter approach. Great music and great music marketing can’t be cookie cutter. <br><br>
When I first started I wanted to learn how to share my music with people and make a fantastic living. My friend <a href="http://www.baldguitardude.com" target="_new"><b>Joe Lilly</b></a> runs a $50 million dollar marketing company and also is a guitar player. He is someone I’m proud to let influence me because I know Joe’s track record. He understands marketing on an insanely high level. Top 1% type level. <br><br>
What about you? Do you have advisors? Do you have a specific group of people who advise you in your music career? Have they been there before? Do they share the same goals as you? Do they know what it takes to get there?<br><br>
For some real life changing music career advice <b><a href="./careermentoring.cfm" target="_new">click here</a></b><br><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106442010-07-06T12:43:36-05:002010-07-06T12:43:36-05:00Letting Your Audition Etiquette Slip? Maybe That’s Why You’re Not Getting Gigs. (Part One)Auditions are a little nerve-wracking for all of us. Not only are you expected to show your talents and abilities, but you’re thrust into a situation where you’re dealing with the egos and attitudes of other musicians. If you can make it through the audition and make it into the band, you might have one of the best musical experiences of your life – or, you might find yourself turned away, or worse , not called back.<br><br>
There’s also a HUGE difference between your run-of-the-mill band audition, and those higher-paying gigs you’re looking for. If you want to be taken seriously, you need to be ready to get serious with yourself, and take a good look at how you carry yourself and appear when you go to auditions. Want gigs that make you money? Then you have to be worth that money, which includes sharpening your talent and looking the part.<br><br>
If you’re finding yourself in a situation where you aren’t getting callbacks, it could have something to do with your Audition Etiquette. Here are some to-do’s that should definitely be on your list. <br><br>
• Get There Early<br><br>
I’ve seriously heard people discuss how being “fashionably late” to an audition makes you look like your skills are desired. Naturally, the person who said this was having lots of trouble getting gigs. <br><br>
You must think of an audition as a job interview. If you show that you can’t be punctual or trustworthy, you’re going to be flat-out rejected in many cases. No one wants to deal with a person who won’t show up to practice, or worse yet, a show.<br><br>
If you make it a point to get there even 30-45 minutes early, you’ll not only give the impression that you’re regularly punctual – you’ll show the important folks in the equation that you want the job. At the end of the day, wanting to be part of the band could be a huge part of the decision factor for the people who are auditioning you. That extra edge could get you a great opportunity.<br><br>
If you’re looking for a high-paying gig, someone is paying – and that means that you need to prove you’re worth their money, and that you can be dependable.<br><br>
• Dress Well<br><br>
Some musicians make the mistake of thinking that because they’re auditioning for a rock band or a particular genre of music, it’s okay to look a little sloppy to show up to the audition.<br><br>
You have to remember that how you dress is a reflection of yourself. Showing up with poor hygiene or getting there poorly dressed could be detrimental to getting the gig.<br><br>
If you’re looking for a higher-paying gig, take it a step further. Iron your clothes TWICE. This is basically a job interview, so it’s in your best interest to present yourself as you would at any other job. If you’re not ready to dress the part, you’re not ready to get those serious, high-paying gigs. It’s time to get serious!<br><br>
You also want to make sure that you dress the part. If you’re going to an audition outside your typical genre, make sure you understand the best way to dress. Don’t underestimate the importance of looking the part.<br><br>
• Know the Repertoire<br><br>
Seriously. It’s an audition for a reason. Don’t waste your time or anybody else’s walking in with excuses about why the music isn’t learned or you’re not up to speed. Plenty of people think they can walk into an audition and improve, and snare a gig by sheer talent. The person with a little less talent who’s better prepared is often a wiser choice.<br><br>
• Have the Right Gear.<br><br>
Don’t want to lug your amp all the way to practice? Make sure to call ahead and inquire as to what gear is going to be there in advance. You don’t want to leave your important equipment at home. You’ll look unprepared, and like an amateur. That’s not going to improve your chances for getting into the band.<br><br>
Think about it – if you’re a guitarist and you leave your strap at home, you might be the only person at the audition perched on a chair in the middle of the room. This isn’t an ideal scenario, and it’s one I’ve seen before. Come prepared!<br><br>
It’s also a good idea to print out your press kit, or make sure they have an electronic version of any materials that will help you better present yourself. You wouldn’t go to a job interview without taking the required resume and hiring materials – so make sure you have those handy.<br><br>
Next week, we’ll talk a little more about this from an attitude standpoint. Covering the practical bases is important, but you should also understand if the way you personally prepare for an audition is beneficial to you and your practice. How do you approach going to an audition? Are you professional? Prepared? A little self-analysis might go a long way!<br><br>
Looking for more tips and career advice? Check out <a href="./careermentoring.cfm" target="_new">http://www.stevenixonmusic.net/careermentoring.cfm.</a><br><br><br><br type="_moz">Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106432010-06-28T05:55:00-05:002010-06-28T05:55:00-05:00Steve Nixon's Interview With Jeremy Baum (Keyboardist For Shemekia Copeland)I'm excited to share with you my recent interview with keyboard player Jeremy Baum.<br>
Jeremy is currently the full time keyboard player for Grammy Nominated blues singer<br>
Shemekia Copeland.<br><br>
Jeremy and I first met on a gig in Atlantic City. I heard one solo of his and I knew<br>
immediately he had something special! We developed a friendship backstage after the<br>
gig and we’ve been friends ever since.<br><br>
Over the years Jeremy has done freelance work for many different artists, touring and/<br>
or recording with Richie Havens, John Hammond Jr., Shemekia Copeland, Jim Weider,<br>
Melvin Sparks, Bill Perry, Sue Foley, Debbie Davies, Murali Coryell, Slam Allen, Little<br>
Sammy Davis.<br><br>
This is my second interview in my "Artists Interviewing Artists" series. I know you all<br>
will definitely enjoy this one and learn quite a bit. Enjoy!<br><br><b>Steve Nixon:</b> What do you think are the main ingredients that are important in building<br>
your career as a musician and getting your name out there?<br><br><b>Jeremy Baum:</b> I always knew I wanted to play music, from the time at least from the<br>
time I was thirteen on and but the circumstances of my life - when I was<br>
eighteen I moved in with this girl that I was in love with. My first love,<br>
and we moved in together and for at least a year I was working but – I was<br>
working for about maybe a year, year and a half at this gas station. Forty-<br>
eight hours a week, it was six nights a week from 3:00pm – 11:00pm. All<br>
the money that I made just went to you know pay the rent and put gas<br>
in my car and I wasn’t getting anywhere and I had no time. You know,<br>
every night I was sitting at this gas booth just collecting money.<br><br><b>Steve Nixon: </b>Wow.<br><br><b>Jeremy Baum:</b> And at that time I didn’t own a piano. I was, you know, not too happy<br>
about the situation and then a couple years later, kind of interesting, my<br>
aunt passed away and she actually had a life insurance policy in my name<br>
and left me some money, and I saw it as sort of a real opportunity to<br>
pursue my dreams in earnest. You know, I moved back home with my<br>
dad and the first thing I bought was a piano and then I bought a station<br>
wagon and I bought some keyboards and an amp and then I started –<br>
basically, I quit my job at the gas station and I went out almost every<br>
night of the week and I live out near Woodstock, New York and there was<br>
usually something happening somewhere.<br><b><br>
Jeremy Baum: </b>You know, that was before people regularly used the internet and you’d<br>
just check all the papers and look at the papers and see what was going on<br>
and between Woodstock and New Paul, I’d go out almost every night of<br>
the week and find at least some live music and I got to know a lot of the<br>
local musicians and basically asking everybody if I could sit in for free.<br><br><b>Steve Nixon: </b>Right.<br><br><b>Jeremy Baum:</b> And I did that for about a year just, and half the time they’d say yes.<br>
Sometimes they’d say no but I got to know everybody, you know in the<br>
area. There were a lot of people and they would just welcome me up and<br>
you know I was just jumping in with both feet you know just playing<br>
for free and putting all of my energy into just being out there where live<br>
music was happening, being surrounded by it and trying to be a part of it.<br>
I went to school for music and then Murali who’s the son of Larry Coryell<br>
joined his band. We had a band for four or five years and we learned<br>
lots of covers and we started hosting a blues jam in Middletown. I met a<br>
lot of guys. It was basically trial and error too. It was like we were into<br>
fusion. We were into like ‘musicians music” so what excited us, wasn’t<br>
necessarily what excited people in the bars we were playing and so at first<br>
we’d go out and we’d play some Return to Forever stuff and all this crazy<br>
fusion stuff that we were really into and maybe some Miles Davis, late<br>
Miles Davis from like “We Want Miles”. We used to do all this crazy stuff<br>
and have these wild jams and it’s like we’d open our eyes and realize that<br>
the bar had been cleared out.<br><br><b>Steve Nixon: </b>Yeah. Ha ha…I’ve seen that before.<br><br><b>Jeremy Baum:</b> You know, we’re drinking and rocking out. We thought we sounded<br>
great and the next thing we know, there’s nobody there. So then we<br>
started hosting this blues jam and because it was blues jam we were<br>
learning a bunch of blues, you know, tunes and we would learn them and<br>
everything was in there and then we started doing some R&B stuff and the<br>
next thing you know we got really popular in this one bar. We were like<br>
packing the place every Thursday night and that seemed to work. Playing<br>
the R&B and the blues and the James Brown and Al Green and Freddie<br>
King and all that. All that stuff resonated in the bars and you know,<br>
with all ages. Young people and older people and everybody seemed<br>
to dig what we were doing. It was like trial and error but really, more<br>
than anything, it was just going out and playing for free and playing with<br>
anybody and everybody and the next thing you know, people are calling<br>
you for gigs and you’re playing with anybody and everybody, but you’re<br>
getting paid a little bit of money to do it.<br><br><b>Steve Nixon: </b>Right, right. Now did you have business cards?<br><br><b>Jeremy Baum: </b>Yeah, back then nobody really had computers. It was the early ‘90s.<br>
Maybe some people had computers, but you know I went to the print<br>
shop and printed out a thousand business cards with just my name and<br>
phone number and a little picture of a keyboard and a piano on there and<br>
handed them out to everybody that I’d meet. At the blues jams really is<br>
where I met most people. Some jazz jams, a lot of blues jams. There<br>
was one blues jam over in Poughkeepsie, New York at this place called<br>
The Sidetrack. I met a lot of guys there that I still know and the one in<br>
Middletown at this place called The Downtown. Those were the two main<br>
blues jams. I met a lot of people at those places and then like I said, you<br>
know playing down at Manny’s Car Wash in New York City. I met a lot<br>
of musicians down there.<br><br><b>Steve Nixon:</b> How do you handle life on the road as a touring musician and being gone<br>
form home so often?<br><br><b>Jeremy Baum: </b>Well, it’s almost like you give your life to music. You make this<br>
decision. This is what you want your life to be and you know it’s going<br>
to be hard on relationships. There’s compromises that you make but<br>
on the other hand you realize that you’re living your dream and you’re<br>
living a dream and you’re so fortunate to be able to do this. So you know,<br>
psychologically, that’s it. It can be it’s own reward. Playing music for a<br>
living and you know playing for anywhere from 100 to 10,000 people in a<br>
night, but all the experiences are great. Just doing what you love and just<br>
being on the road, you know it’s really tiring.<br><b><br>
Steve Nixon: </b>Yeah. Ha ha…I think I have bags under my eyes permanently.<br><br><b>Jeremy Baum: </b>To say the least, as you know. It can be really hard on you. It takes a lot<br>
of endurance, physically and mentally. So sometimes pace yourself. Try<br>
not to drink too much. Of course these days, having a laptop makes it so<br>
much easier or having a Blackberry or whatever it is that you use to stay<br>
in touch with people. Facebook is great for staying in touch with people<br>
all over and you make friends everywhere you go so after a few years, you<br>
start returning to the same towns and you start seeing the same faces and<br>
seeing people that you having established these friendships with and these<br>
relationships with that you can you know. They kind of feel, you don’t<br>
feel like you’re away from home so much.<br><b><br>
Steve Nixon:</b> Okay, next question here. So I know that when you’re not touring, you<br>
gig fairly consistently in your home market, which is the New York area?<br><br><b>Jeremy Baum: </b>Yeah.<br><br><b>Steve Nixon: </b>How do you keep your home gigs and connections in tack while being<br>
regularly away from the scene?<br><b><br>
Jeremy Baum: </b>Well I’m home about half the time, sometimes a little more than that so<br>
I’m not away so much that it’s impossible and I just started working with<br>
another local band and basically I have a pretty open, like a pretty good<br>
relationship with them and they basically said any gigs that I’m home for I<br>
can do with them.<br><b><br>
Steve Nixon:</b> Oh wow.<br><br><b>Jeremy Baum: </b>Because they work pretty regularly and they’re a great band, and that<br>
only just happened but for the last three years basically, whenever I was<br>
home and had a night off I would go out and hear them and sometimes sit<br>
in and sometimes if their keyboard player wasn’t around they’d tell me to<br>
go home and get my gear and I’d come back and I’d actually do the gig<br>
with them. I’m the full-time guy I guess when I’m, when I can do it. But<br>
it’s cool because I’ve had a few relationships with local bands like that<br>
over the years where they’re like, yeah anytime you’re home if we have a<br>
gig, you’re on the gig.<br><br><b>Steve Nixon: </b>Gotcha.<br><br><b>Jeremy Baum: </b>So that helps. That makes life a lot easier.<br><br><b>Steve Nixon: </b>Definitely man. Now so do you have a sub then when, for you when<br>
you’re on the road?<br><br><b>Jeremy Baum:</b> Yeah, I basically told the leader my schedule, my touring schedule and so<br>
he knows when I’m not going to be available for their local gigs and you<br>
know I think he’ll call me. He’ll call a sub for me. I don’t have to call<br>
subs.<br><br><b>Steve Nixon: </b>Oh, That’s really good.<br><br><b>Jeremy Baum:</b> Yeah, they have my schedule and basically just, yeah.<br><br><b>Steve Nixon:</b> So I’m starting to notice a trend here Jeremy. Twice now you answered a<br>
question by being saying something like, “I’d go see the band or I’d go out<br>
and see live music”.<br><br><b>Jeremy Baum: </b>Yeah I mean even at this point in my career. I do the same things that<br>
I did twenty years ago. When I’m home and I have a night off, if there’s<br>
a good local band that I like, I go out to see them as a fan and sometimes<br>
they ask me to sit in and I’m always happy to sit in and sometimes they<br>
ask me to sub and when I’m available, I’ll sub and yeah. It leads to more<br>
work, so definitely getting out of the house.<br><br><b>Jeremy Baum: </b>Seeing other bands and just making that human contact instead of just<br>
staying home on the computer or watching TV or whatever it is. That’s<br>
how you get more work. That’s how I get more work.<br><br><b>Steve Nixon: </b>Yeah, I gotcha. Okay, next question. I knew your father was also a<br>
musician.<br><br><b>Jeremy Baum:</b> Mm hm. Right.<br><br><b>Steve Nixon:</b> How did growing up with a professional musician in your house affect<br>
your development as a player?<br><br><b>Jeremy Baum: </b>Well basically just seeing that that’s a way to make a living kind of put<br>
that thought in my mind, that idea in my mind when I was a kid. I was<br>
like I could do this, you know. I could be a musician. That’s a viable<br>
option as a career. Whereas a lot of people’s parents are not musicians.<br>
You know if they tell their parents that they’re thinking of being a<br>
musician, they’re often discouraged from it. I was never discouraged or<br>
encouraged. It was basically my dad worked in the Catskills for thirty<br>
years raising a family, raising my sister and me and we had a house<br>
in the mountains, in the Catskill Mountains. He worked at this place<br>
in Allenville, which is one of the Jewish hotels. He was working six<br>
nights a week basically. So he wasn’t home nights but on the weekends,<br>
even when I was not even a teenager, when I was maybe nine, ten,<br>
eleven, twelve you know on Friday nights, Fridays and Saturdays if I<br>
was home, you know he a lot of times would take me to work with him.<br><br><b>Jeremy Baum: </b>And I would just hang out for however many hours and he played in the<br>
show band so they would back up comedians and singers and so I got to<br>
see a lot of comics, you know, the Jewish comics who would play the<br>
Catskills and the singing duo teams and comedians and magicians and<br>
every now and then there would be a burlesque act. You know, whatever,<br>
just like this old school show business. It was travelling around, probably<br>
the Catskills and Atlantic City and Vegas and whatever else. It was an<br>
interesting way of growing up and just seeing this how everything worked<br>
and hanging out backstage in the back. Oh and the entrance musicians<br>
just, as always is like through the kitchen. When you walk through the<br>
back where the garbage truck was and the next thing you know you’re,<br>
walking on the stage and then everything’s groovy.<br><br><b>Jeremy Baum: </b>You know bright lights and everything<br>
It just made it like seem like a viable option like it was normal to go out<br>
at night and play music.<br><b><br>
Steve Nixon: </b>So it was almost just the fact that like you didn’t even know any better, it<br>
was just the model was set for you?<br><br><b>Jeremy Baum: </b>Yeah it was just like, yeah that’s something you can do. And also when<br>
I was probably eleven, ten-eleven-twelve I was already sitting in with the<br>
band and then there was another band in the bar that was the lounge band<br>
and they did more covers, and my dad played in the show band where<br>
entertainers would come in with sheets of music and they would read the<br>
show down and you know, like entertainment.<br><b><br>
Steve Nixon: </b>What a neat experience!<br><b><br>
Jeremy Baum: </b>Yeah it was pretty cool.<br><b><br>
Steve Nixon: </b>So I know that in addition to being an in-demand sidesman, I know that<br>
you’re also leading your own organ trio. Are you still doing that or not<br>
really?<br><br><b>Jeremy Baum: </b>Yeah not as much.<br><br><b>Steve Nixon: </b>Not as much?<br><br><b>Jeremy Baum:</b> I mean not as much as I used to since I’ve been doing Shemekia’s gig.<br>
It takes a lot of time if you’re going to be doing your own project, you<br>
know, booking and lining up work and keeping the band working and I<br>
was doing it before I worked with Shemekia but since then not so much.<br><br><b>Steve Nixon: </b>Okay.<br><br><b>Jeremy Baum: </b>You know a couple times a year. I have on organ trio gig coming up on<br>
the 31st of this month and we’re playing a party with guitar and drums and<br>
I’ll play organ but I don’t do it very often.<br><br><b>Steve Nixon: </b>How do you shift your mentality when you’re not playing that role<br>
regularly?<br><br><b>Jeremy Baum: </b>Even when I’m playing with the trio, I don’t feel like I’m the leader of<br>
the group. You know, I’m playing with my peers, my friends and Chris<br>
guitar, Randy on drums who played with The Band for like ten years,<br>
the “The Band” The Band”.<br><br><b>Steve Nixon: </b>Yeah.<br><br><b>Jeremy Baum:</b> We get together and we play and it’s just kind of a joy. You know, we<br>
just play and we all pick songs and learn the songs that the other person<br>
wants to do. It’s not really like being the leader as much as just being able<br>
to stretch out with your friends and enjoy the gig.<br><b><br>
Jeremy Baum:</b> So it’s not so hard.<br><br><b>Steve Nixon: </b>Gotcha, gotcha and that’s obviously…<br><br><b>Jeremy Baum: </b>As far as, as far as being a sideman with Shemekia, the mindset is a<br>
little different because I’m playing my role in that gig. I’m doing, I’m<br>
playing the songs the way they are played on the record and learn the<br>
arrangements. Learning the arrangements how they are on the record.<br>
It’s like playing a role and the solos are very short and everything is set<br>
and also, it’s a show. You know, we play a 75 minute show and she’s<br>
usually a headliner and so it’s basically you have to be on from the time<br>
you get onstage until you’re walking off. You have to be totally focused<br>
and doing your job and being a part of that group and playing a supporting<br>
role for her and trying to make everything sound as good as possible and<br>
be truly focused – almost like you’re doing a recording session. You know<br>
it requires a lot of focus and keeping your energy where it should be and<br>
it’s not about you. It’s about her and about the whole sound of the group<br>
and yeah, so it’s different from being home and jamming with your friends<br>
or doing a local gig that’s a little looser and being able to stretch out your<br>
solos.<br><br><b>Steve Nixon: </b>Okay cool. So what’s your keyboard rig currently consist of?<br><br><b>Jeremy Baum:</b> I actually got an endorsement from Hammond and I have the new<br>
Hammond XK-3C which is a fantastic organ.<br><br><b>Jeremy Baum: </b>And I play that through the Leslie 3300, which I also hook up. It is a<br>
300-watt solid state and a two preamp Leslie with you wheels and handles,<br>
only 125 pounds which for a Leslie isn’t so bad.<br><br><b>Steve Nixon: </b>Right.<br><br><b>Jeremy Baum: </b>And it sounds amazing. It’s warm and it’s loud and it’s clean and that<br>
organ, through that Leslie, I’m really happy with that. That’s my organ<br>
and then my piano; I’m just not completely satisfied with it. I’m ready to<br>
update my piano rig. I’m still playing a Yamaha P120.<br><br><b>Steve Nixon: </b>Ah okay.<br><br><b>Jeremy Baum: </b>And I’m playing it through a Peavey amp.<br><br><b>Steve Nixon: </b>Gotcha. Do you like that amp?<br><br><b>Jeremy Baum:</b> It’s decent. It’s loud enough and decent enough and it’s a Peavey so it’s<br>
like a workhorse you know. It doesn’t break. It’s totally solid. It’s heavy<br>
and it’s solid and it’s loud and it’s reliable.<br><br><b>Steve Nixon: </b>Yeah that’s good. That’s huge especially for a rig that you’re taking.<br>
Now do you take that on the road or are you doing backlines and stuff like<br>
that?<br><br><b>Jeremy Baum:</b> Occasionally there is, like in the next couple of weeks I’ll be taking my<br>
rig in my van and driving it around. Whenever we fly there’s a, they rent<br>
backline.<br><br><b>Jeremy Baum: </b>Right now I have like the Yamaha CP300.<br>
Steve Nixon: So, next question. What three artists have influenced you most as a player<br>
and can you tell us why?<br><b><br>
Jeremy Baum:</b> It all depends on what I’m playing, you know. If I’m playing jazz I<br>
would say Bill Evans and then Keith Jarrett especially with solo piano or<br>
even if I was playing like trio setting. If I were playing organ, especially<br>
like soul jazz things, I’d say you know Jimmy Smith of course and then<br>
Jack McDuff, and Brian Auger.<br><br><b>Jeremy Baum: </b>Growing up my dad had a lot of Jimmy Smith, a lot of Ray Charles.<br>
That stuff influenced me. I just love music. I listen to all kinds of stuff.<br><br><b>Steve Nixon: </b>So lots of different influences?<br><br><b>Jeremy Baum:</b> And then I played salsa music for ten years and you know Afro-Cuban,<br>
Latin, all that and you know definitely the Buena Vista Social club guys<br>
influenced me a lot. Ruben Gonzales on piano influenced me a lot for my<br>
salsa playing, so it all depends what I’m playing.<br><br><b>Steve Nixon: </b>What are you listening to right now?<br><br><b>Jeremy Baum: </b>I would say over the last year I’ve listened to a lot of Imogen Heap.<br>
She’s a singer and songwriter and producer from England and she’s<br>
amazing.<br><br><b>Jeremy Baum:</b> It’s an unusual name but she’s fantastic. I listen to a ton of her -<br>
everything that she put out. I just couldn’t get enough and then more<br>
recently a jazz group I listened to for a while, GSP.<br>
another group, this duo group from Brooklyn, an organ player and a<br>
drummer – Benevento Russo Duo.<br><br><b>Jeremy Baum:</b> Yeah I really dug some of that stuff. So I would say that. Oh and I’m<br>
always listening to Peter Gabriel. I would go see Peter Gabriel and Bruce<br>
Hornsby.<br><br><b>Steve Nixon: </b>Gotcha.<br><br><b>Jeremy Baum:</b> Bruce Hornsby’s a big influence too.<br><br><b>Steve Nixon:</b> Yeah he’s a huge influence on me too!<br><br><b>Jeremy Baum:</b> Well there you go.<br><br><b>Steve Nixon: </b>That’s a fantastic list!<br><br><b>Jeremy Baum:</b> Cool, cool.<br><br><b>Steve Nixon:</b> Now in 2010 with the current skills you’ve already developed, how do you<br>
improve your playing?<br><br><b>Jeremy Baum:</b> Well it’s for me now it’s more learning songs, so like I just picked up this<br>
local gig with a great cover band, so learning the songs that they do, that<br>
they cover and whenever an artist asks me to, you know do a showcase gig<br>
with them, learning their original music. Learning off the chart. Learning<br>
new material helps my skills develop more. When I’m home, trying to<br>
read like Chopin, learning Chopin pieces and sometimes Bach and also<br>
just standards, you know, going through the little drill books, going one<br>
two three whatever and just picking the tune that I know from my music<br>
collection that I’ve never played before and maybe trying to memorize it<br>
and play my own arrangements of it. You know that’s basically what I’ve<br>
been doing lately.<br><br><b>Steve Nixon:</b> That’s great. So it’s kind of a cool thing man that you say you also do it<br>
just as much for your pleasure and enjoyment because a lot of guys can<br>
get burned out when all they’re doing is just learning music for gigs as<br>
opposed to doing it because they just love music. There is some pleasure<br>
to it, you know.<br><br><b>Jeremy Baum: </b>Oh, absolutely. It’s all, to me, for the most part that’s why I do what I<br>
do. It’s definitely not for the money.<br><br><b>Steve Nixon:</b> I hear you there man. Alright now, so do you have any advice for aspiring<br>
players in regards to how to improve their blues piano skills?<br><br><b>Jeremy Baum: </b>Listening to as much of the music that they can get their hands on. If it’s<br>
blues piano that they want to be better at then just listen to as many great<br>
blues piano players that they can, you know, so…<br><br><b>Jeremy Baum: </b>So listening is my advice.<br><br><b>Steve Nixon: </b>Okay let me as a side question on that because I know for example some<br>
of my students, if you gave them an answer like listening, which is<br>
obviously very true and you know there’s no substitute for listening, but<br>
they might be confused by how you listen to music to learn.<br><br><b>Jeremy Baum: </b>Well I guess not just listening but also trying to learn the stuff that you’re<br>
listening to.<br><br><b>Steve Nixon: </b>By transcribing and things like that?<br><br><b>Jeremy Baum: </b>Yeah, transcribing work, you know either transcribing, actually literally<br>
transcribing or just figuring it out by ear what you’re hearing and trying to<br>
get it with your ear and play it as close to that as you can.<br><br><b>Steve Nixon: </b>And you’ve done a lot of that?<br><br><b>Jeremy Baum:</b> I’ve done a bit of that, yeah I mean especially if I’m learning a particular<br>
song, I try to figure out what he plays on those songs. Like if I’m learning<br>
an Albert King song or a Freddie King song or whatever, let’s say “Born<br>
Under a Bad Sign”<br><br><b>Jeremy Baum: </b>Okay so learning the actual piano part in there, it’s like an arrangement.<br>
One part is like quarter notes, another part is like eighth notes and it’s<br>
just, it’s very particular what they’re playing. They’re not just playing the<br>
changes. They’re playing top, you know so learn the parts you know on<br>
all these classic blues tunes. Figure out what’s actually being played and<br>
play those parts. When you go to the blues jam, play the parts that are on<br>
the record, you know, don’t just play the changes and improvise wherever<br>
you want. Play what the guys are playing on the record.<br><br><b>Steve Nixon: </b>Yeah that’s huge.<br><br><b>Jeremy Baum: </b>That’ll get your playing up to the next level.<br><br><b>Steve Nixon: </b>That is right there man, that is a money statement. It really was because a<br>
lot of guys are good musicians but they’re improvising too much. Much<br>
more on the national scene, there’s a lot more parts playing as opposed to<br>
just jam playing.<br><br><b>Jeremy Baum: </b>Yeah, yeah which for me on Shemekia’s gig. I’m not improvising there.<br>
I did an eight measure solo here or there, sometimes a four measure solo.<br>
Whatever it is and you know even then, if it’s a short solo like that, you<br>
got to burn from the moment, you know from the get go you’ve got to<br>
play what you’re going to play immediately you know? But then the rest<br>
of the song, you’re playing the parts. No screwing around, you know?<br><br><b>Steve Nixon:</b> What about in your fills? Is it the same type of concept?<br><br><b>Jeremy Baum:</b> Yeah, I mean the fills they’re improvised but you don’t want to be over<br>
the top in your fills. You don’t want to be like calling too much attention<br>
to yourself. You want do your job.<br>
.<br><b>Jeremy Baum: </b>Don’t overstep your welcome. Don’t overstay your welcome. Don’t<br>
make your presence be too known because it’s not your name on the<br>
billboard outside.<br><br><b>Steve Nixon:</b> Jeremy that’s a great point. Okay, last question. You’ve had quite a bit of<br>
success so far in your career. What are your future goals going forward as<br>
a musician?<br><br><b>Jeremy Baum:</b> I’d like to write more. I’ve put out a couple of CDs. One was a salsa<br>
CD with a salsa band that I worked with for ten years. It was all original<br>
music. My own CD with my organ group was mostly original music.<br>
I’ve written some music with other artists and had a few songs on other<br>
people’s CDs. I would like to write more. I would like to do another CD<br>
of my own. Maybe another organ CD, maybe even a jazz piano CD with<br>
a trio or something. I’d like to produce some CDs with some friends of<br>
mine that are singers and guitar players and local musicians. I would like<br>
to spend more energy on music. That will be my future goals, my say<br>
three to five year goals – writing more and possibly producing more and<br>
just creating more original music and getting it out there.<br><br><b>Steve Nixon: </b>Original music. I hear you man. So it sounds like your goals aren’t<br>
necessarily business goals. They’re more along the lines of personal<br>
artistic goals and those potentially could lead to business. Is that a fair<br>
statement?<br><br><b>Jeremy Baum:</b> Yeah, that’s, it’s always been that for me. I’ve always, and I’ve always<br>
thought about as far as a sideman goes, well who do I want to work with<br>
you know, musically? Who excites me? What do I want to be? What do<br>
I want to be a part of? Where do I want to be making music? Never so<br>
much like, who can, how much money do I want to make? Or you know,<br>
what do I want to do business wise? But different people think differently.<br><br><b>Steve Nixon:</b> Right.<br><br><b>Jeremy Baum: </b>But for me it’s always been artistic and aesthetic goals and spiritual<br>
goals, like what’s going to give me happiness in this life? And how am I<br>
going to, you know make music best.<br><br><b>Steve Nixon: </b>Wow that’s really important. The beautiful irony of that is that you’ve<br>
been able to parlay that mindset into making a living.<br><br><b>Jeremy Baum: </b>Yeah, it didn’t happen overnight. I probably was in it for ten years<br>
before I was actually at a point where you could say I was self-sustaining,<br>
making a living as a musician. I probably did it for about ten years before<br>
I got to that point. It’s always gotten a little easier. Every year’s been a<br>
little bit easier.<br><br><b>Steve Nixon: </b>Thanks so much for your fantastic interview Jeremy! It's truly been a<br>
pleasure. You're answers were really informative and I know we’ve<br>
all learned a lot. If you guys get an opportunity, be sure to check<br>
out Jeremy’s playing with Shemekia Copeland. It’s a phenomenal show!<br><br>
For more information on Jeremy Baum visit him at <a target="_new" href="http://www.jeremybaum.com">www.jeremybaum.com</a><br>
His latest release “Lost River Jams” can be purchased at <a target="_new" href="http://www.cdbaby.com/cd/%20baum">www.cdbaby.com/cd/<br>
baum</a> and Itunes.<br>
.<br><br><b>Are you finally ready to Take Your Music Career To The Next Level?<br><a target="_new" href="./careermentoring.cfm"><span style="color: rgb(0, 0, 255); ">Click Here To Learn More</span></a></b><br><br><br><br type="_moz">Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106422010-06-23T08:11:28-05:002010-06-23T08:11:28-05:00Blast to the Top Using Your Own Music Distribution<br>
We’ve been talking about how the way music was once produced and distributed is quickly becoming obsolete. As I mentioned before, you don’t need a record company to distribute your music or help you make a living.<br><br>
That being said, if you don’t have a record label and you want to do everything yourself, it’s going to be up to you to promote your own music and sell your records. These days, lugging a stack of CDs and other merch to your show just isn’t enough. There are some intuitive, affordable solutions out there that will help you get your music to the people who need to hear it. <br><br><b>1. Use Your Website.</b><br><br>
Myspace used to be a great way to connect people to your music, because everyone seemed to have a profile on there. These days, people are using Facebook, and you probably are, too. Facebook has the world’s largest database, and is a lot less intuitive a resource for musicians than Myspace.<br><br>
So, maybe now’s the time to think about getting off Myspace. You can keep your Myspace and all your other social media profiles, but beef up your online presence with a store, and start using a website as your one sheet. With more and more people migrating from Myspace, there’s less chance you’re going to be found there.<br><br><b>2. Use Social Media.</b><br><br>
We’ve all probably heard of sites like ReverbNation by now – if you’re not using music social media sites, do it. This isn’t something you need to put daily work into, and it’s going to help other users connect with you. Put your most decked-out social media profiles on your marketing materials, and on your website. You’d be surprised how many people will find you just by browsing.<br><br>
I also recently learned that many people under the age of 24 don’t actually have an email address, and never have – because they use Facebook almost exclusively! This tells you something about the power of social media.<br><br><b>3. Listen to Music, and Network.</b><br><br>
Some of us get so wrapped up in our own marketing, that we forget how important it is to enjoy the music of other people, and to network. You may find yourself liking another band so much that you strike up a conversation or introduce yourself. Before you know it, they have one of your CDs – and before you know it, you’re playing a show with them. People seem to highly underestimate the value of networking and enjoying the music of other people these days. You never know what kind of networking could start a movement!<br><br><b>4. Use Local Radio.</b><br><br>
Many local and even internet radio stations will have a local talent hour. Think about this: Many radio listeners tune in at the top, bottom, or middle of the hour. People tend to head off somewhere after a show goes off on TV, or they schedule appointments with people that are around these times. If you can get yourself a local radio spot around these times, listeners will be more likely to hear you as they’re browsing through stations.<br><br>
It’s going to be really difficult to try to specify when you want to go on if you’re trying to get local radio play, so the key there is submit, submit, submit – make sure that your music is spread around enough to be played during the local hour so that you can get some of those choice spots.<br><br>
Remember, promoting your music is everything, and you’re really only going to make a ripple if you know what you’re doing!<br><br>
For some real life-changing advice on getting your music career moving, <a href="./careermentoring.cfm" target="_new">click here!</a><br><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106412010-06-17T21:50:00-05:002017-01-12T19:48:53-06:00How Do I Get A Record Deal?<img src="//d10j3mvrs1suex.cloudfront.net/u/45854/fba9ed3141433ac7014bf25fffb8749dbf653868/thumb/woman-guitar.jpg?1377620125" class="size_orig justify_inline border_" alt="" height="125" width="94" />I received an email from a reader a couple days ago asking my advice on how to get a record deal in 2010. I know that many of you have the same question so I'll post my response. I have changed the first name just to protect the reader's privacy.<br><br>
Hi Suzanne,<br>
I have to be honest with you. Getting a record deal is getting harder and harder these days. Record deals are no longer what they used to be. As a result of illegal downloading of music the record companies have really lost a large hold of the industry. Albums aren't selling the way they used to. Record deals do still exist but are really much harder to get.<br><br>
The people who do get record deals in today's day in age are often time considered "conservative investments" for the record company. So, often an artist who gets a deal either has large fan base already, or is already established in the industry and just need a bit more "push" from a financial and marketing perspective. Occasionally, an artist is signed based off their marketability factor alone and hasn't really done much in music. In these situations the artist usually has a team of people who help produce them (think Ashlee Simpson, Miley Cyrus, Justin Bieber etc.). These artists are usually young and attractive. They may or may not be that talented but through marketing and positioning on the business side of things a label can turn these people into "a star". In order to get fame, production, and financial backing like that you have to give up lots and lots of the rights to your music. This is a very bad thing! An artist wants to keep as much of the rights (publishing and songwriting credit) to their music as they can.<br><br>
The GREAT news though is that in 2010 you don't need a record deal to make a living in music. The vast majority of professional musicians do not. With the Internet there are lots and lots of ways to market and establish yourself in the business. It's truly become an equal playing field. If your talented, hard working, and know how to market yourself really well than you can be successful. Here's the awesome part of this. Most musicians either don't know how or don't have the interest to really learn how to market themselves. <br>
<br>
Sometimes we learn the most by asking different questions or focusing on different things. If I were you I wouldn't focus on a record deal. I'd focus on 2 main things. <br><br>
1. Work extremely hard and put out great music. Make your music as amazing as you can. Never ever ever cut corners. Wrong notes, bad timing, out of tune vocals, mediocre writing, bad recordings, cheesy lyrics, lack of style etc etc. etc....none of that is ok. This includes your live shows and your recordings. Don't rest until they're as polished as you want them to be. I have a 25 point checklist of things I go through before I release anything to the public. Quality control is everything.<br>
Your music must truly say something and create that wow factor. What will make you stand out from the rest thousands of artists out there? The answer is extremely hard work and originality in your sound.<br><br>
2. Learn to market yourself. The best advice I can give you is to read as much as you can and educate yourself on the music business side of things. The more you know about music career marketing the better of you'll be. You should even consider getting a music career coach or mentor. <br><br><br><b>Remember:</b> Talent, hard work, and a fantastic marketing plan is a great recipe for long term success in music. A record deal does not guarantee that. Some would say that a record deal never was the "pot of gold" at the end of the rainbow. That rings even more true today. <br>
<br><b><br>
Learn How To Take Your Music Career To The Next Level <a target="_new" href="./careermentoring.cfm"><span style="color: rgb(0, 0, 255); ">Click Here</span></a></b><br>
<br><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106402010-06-11T01:00:00-05:002010-06-11T01:00:00-05:00My First Guest Post! I'm excited to announce that through luck o' the Irish I received my first invitation to do a guest post on another music blog. I've been a fan of Music Teacher Helper Blog for quite some time. It's a great opportunity. Anyway,<br>
Here is the link <a target="_new" href="http://www.musicteachershelper.com/blog/crafting-a-compelling-music-teachers-bio-2/"><span style="color: rgb(0, 0, 255); "><b>http://www.musicteachershelper.com/blog/crafting-a-compelling-music-teachers-bio-2/</b></span></a>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106392010-06-07T17:05:00-05:002010-06-07T17:05:00-05:00A Gig Question That Most People Forget To Ask So, you've been doing a great job of meeting other musicians. Your reputation as a musician is spreading and your musical "brand" is growing. Finally, some calls are starting to roll in. Band Leader X, who has seen your regularly working rock act perform many times, calls you on a Tuesday. In a real casual voice asks, "Hey, you free for a duo gig on Saturday night?" You are free and could definitely use the $225 bucks because rent is due in 4 days. You reply, "Yeah, I'm free. Tell me where and when to be and I'm there." Band Leader X says casually in response, "Dude, the gig is from 8pm-10pm at a new restaurant called Rowell's in (fill in your city here). Check will be written to you at the end of the night. We're doing all laid back stuff and blues tunes. It will be fun time." <br>
Now, most musician would end the conversation there but an essential question was not asked. Even though, as stated the gig will probably be a "casual" and a "fun time" you still have to ask this: <b> What's the dress for the gig</b><b>??</b> Let's fast forward to hear the rest of the story:<br>
You show up to the gig at Rowell's and you're horrified to find that it's a fancy restaurant. There's a valet, the Maitre d is wearing a tux, and the place is exploding with white linen table clothes and dark oak furnishings. You are wearing your best rock outfit "jeans and a cool retro T" but it's just won't cut it here. You feel out of place, you stick out like a sore thumb. You played your ass off on the gig throwing in all your killer licks but it really doesn't matter. From a image standpoint you just don't cut it. You never get the gig call again.<br>
This whole situation could have been avoided. Playing at Rowell's may not be your dream gig but if you have no work at all then sometimes taking a gig to keep food on the table and to sustain you is important. That way you continue to have the energy and the financial resources to stay in the game. So, you can continue to pursue your more desirable gig for the future.<br>
Never assume from a band leader's casual approach to a phone call that the gig apparel will be casual as well. Always ask no matter what the situation is, "What's the dress for the gig?" <br>
I like to wear jeans as much as anybody else does but it's really important for a performer to distinguish themselves. At a minimum be as well dressed as your audience (if not even better). <br>
If you're serious about building and sustaining a career as a musician you'll need to wear all kinds of different clothing choices on the gig. I like to wear jeans at home but sometimes the gig calls for a suit, a tux, a leather jacket, or a variety of other clothing choices. You've practiced your instrument for years. Don't let silly mistakes like this derail your music career.<br><br><b>Ready To Learn How To Take Your Music Career To The Next Level? Need More Music Career Advice? </b><span style="color: rgb(0, 0, 255); "><b><a target="_new" href="./careermentoring.cfm"><span style="color: rgb(0, 0, 255); ">Click Here</span></a></b></span><br type="_moz">Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106382010-05-30T23:55:00-05:002010-05-30T23:55:00-05:00The Music Career Memory I had a really fascinating moment musically speaking a few minutes ago and figured I'd share it with you.<br>
I'm currently putting the finishing touches on the design work for the release of my <a target="_new" href="./store.cfm"><b><span style="color: rgb(0, 0, 255);">"Learning Chicago Blues Piano"</span></b></a> Instructional DVD. I just posted one of the song snippets on my listen page (check it out <a target="_new" href="./listen.cfm"><span style="color: rgb(0, 0, 255);"><b>here</b></span></a> "Steve's Boogie" under Blues Keys). <br>
As I was posting this song I ended up getting a moment to listen back to some of the older pieces I've recorded over the years. I almost never do this. I don't reflect much on where I've been and never really have. I spend most of my time thinking about where I'm going in the future. My focus is almost always on the "next gig" and I don't ever feel comfortable resting on my laurels. I'm not quite sure what this comes from but I know that my hunger for both artistic and music career improvement is just as strong as it was when I played my first gig...in fact it's even stronger. <br>
Anyway, so I'm listening to a couple songs from the past (of course to make sure they were still fit my artistic voice <b>moving forward</b>) and I was just struck with such a rare and pleasant feeling. The satisfaction didn't come from the notes or the music itself. Rather, my contentment actually came from remembering just how truly hard I worked on those previous projects. Thousands of hours put forward into creating something that did not exist before. The sounds were just a nugget or a dream I had in mind and through the thousands of hours of crafting they became tangible. I didn't take much time to appreciate them when they were initially completed because I was always on to the next gig or the next project.<br>
It was a similar feeling that a home builder might experience if they had been building homes non-stop for 10 years without a single break. Then one day they're driving down the road late night after a slight lull in their workload. They look out the window and there right in front of them is a home they had built. A physical structure now exists....made from the earth and crafted from their own two hands and sweat equity. They look at their hands and then look back at the building....just thinking " I can't believe I made this. It just doesn't seem real." <br>
So, I sit here for a brief moment in acknowledgement of the countless hours I've put in up to this point. These moments don't last long for me. I'll live this feeling for just a minute here until.....I.....uh....I...wait....oh no!!.....next gigs this Tuesday.....back to the piano! Moment over.<br><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106372010-05-28T13:15:00-05:002010-05-28T13:15:00-05:00Getting Past What Currently Limits You In Your Music CareerGetting beyond the mediocre threshold as both an artist and a music business entrepreneur can be extremely challenging. There is lots of information out there about how to get lower and medium level gigs. There isn't a lot of information about how to get high level and quality gigs. <br>
The simple fact of the matter is that an average and cookie cutter approach to your music career produces average results at best.<br><br>
Here's my gig schedule from last year. This is only my national and international dates. This isn't including approx. 30 local gigs and 4 radio appearances. <br>
Hopefully 2010 will be even better as I continue to learn and grow more as a musician, a music entrepreneur, and as a human being :) I'm passionate to almost a fault on self improvement on all levels. Never stop growing. <br><br>
Jan 8, 2009 TBA Buddy Guys Legends Chicago, IL <br>
Jan 24, 2009 9:00 PM Cool River Draught House Homer Glen, IL <br>
Feb 13, 2009 12:00 PM WGN-TV Studios Chicago, IL <br>
Feb 14, 2009 10:00 PM Mullen's Lisle, IL <br>
Feb 18, 2009 TBA Private Event Chicago, IL<br>
Feb 20, 2009 9:00 PM Shamrock Pub Saint Louis, MO <br>
Feb 21, 2009 3:00 PM Shamrock Pub Saint Louis, MO <br>
Feb 22, 2009 7:00 PM Mid-Peninsula Media Center*** Palo Alto, CA <br>
Feb 28, 2009 8:00 PM The Virginia Theatre w/ Buddy Guy Champaign, IL <br>
Mar 13, 2009 8:00 PM Motor City Casino w/ Robert Cray Detroit, MI <br>
Mar 14, 2009 9:30 PM Billy's Lounge Grand Rapids, MI<br>
Mar 20, 2009 TBA City Limits Delray Beach, FL <br>
Mar 21, 2009 TBA Tampa Bay Blues Fest Tampa, FL <br>
Mar 22, 2009 TBA Bradfordville Blues Club Tallahassee, FL <br>
Mar 24, 2009 TBA Southgate House Newport, KY <br>
Mar 25, 2009 TBA Beachland Ballroom Cleveland, OH <br>
Mar 26, 2009 TBA Callahan's Auburn Hills, MI <br>
Mar 27, 2009 TBA State Theater Kalamazoo, MI <br>
Mar 28, 2009 TBA Schaumburg Prairie Center for the Arts Schaumburg, IL <br>
Mar 29, 2009 TBA Key Palace Theater Red Key, IN <br>
Mar 30, 2009 TBA Slippery Noodle Indianapolis, IN <br>
Mar 31, 2009 TBA The Cellar Struthers, OH <br>
Apr 1, 2009 TBA Sellersville Theater 1894 Sellersville, PA <br>
Apr 2, 2009 TBA Blender Theatre at Gramercy New York, NY <br>
Apr 3, 2009 TBA Ramshead On Stage Annapolis, MD <br>
Apr 4, 2009 TBA The State Theater Falls Church, VA <br>
Apr 10, 2009 9:30 PM Cool River Draught House Homer Glen, IL <br>
May 1, 2009 9:30 PM Beale Street Music Festival Memphis, TN <br>
May 8, 2009 8:00 PM Voodoo Lounge at Harrah's Maryland Heights, MO <br>
May 9, 2009 9:00 PM Knuckleheads Kansas City, MO <br>
May 14, 2009 8:00 PM High Noon Saloon Madison, WI <br>
May 15, 2009 TBA Private Event Chicago, IL <br>
May 16, 2009 6:00 PM Lewis & Clark Landing Omaha, NE <br>
May 23, 2009 9:30 PM Fitzgerald's Berwyn, IL <br>
Jun 10, 2009 8:00 PM Blues On Grand Des Moines, IA <br>
Jun 11, 2009 5:30 PM Murphy's Lounge Omaha, NE <br>
Jun 12, 2009 9:00 PM The Walnut Room Denver, CO <br>
Jun 13, 2009 3:15 PM Greeley Blues Festival Greeley, CO <br>
Jun 14, 2009 8:00 PM Little Bear Saloon Evergreen, CO <br>
Jun 18, 2009 8:00 PM Callahan's Auburn Hills, MI <br>
Jun 19, 2009 9:00 PM South Haven Harborfest South Haven , MI <br>
Jun 20, 2009 TBA Aspen Utility Contractors Pig Roast Minooka, IL <br>
Jun 27, 2009 10:00 PM Buddy Guy's Legends Chicago, IL <br>
Jun 28, 2009 3:00 PM Irvine Lake Blues Fest Irvine, CA <br>
Jul 3, 2009 9:30 PM Thunder Bay Blues Festival Thunder Bay, ON <br>
Jul 10, 2009 TBA Jazz Sommer Festival Munich, Germany <br>
Jul 11, 2009 TBA Golmp Alm Festival Merano, Italy<br>
Jul 13, 2009 TBA Astimusica Festival Asti, Italy <br>
Jul 14, 2009 TBA Poggio Picenze in Blues Poggio Picenze, Italy <br>
Jul 17, 2009 TBA Break Summer Festival Ascoli Piceno, Italy <br>
Jul 19, 2009 TBA Marco Fiume Blues Passion Cosenza, Italy <br>
Jul 22, 2009 TBA Nincasi Blues and Beer Festival Cisternino, Italy <br>
Jul 23, 2009 TBA Torre Alfina Blues Festival Viterbo, Italy<br>
Jul 24, 2009 TBA Antequera Blues Festival Malaga, Spain <br>
Jul 25, 2009 TBA Baia Domizia Blues Festival Alcamo, Italy <br>
Jul 26, 2009 TBA Trasimeno Blues Festival Perugia, Italy <br>
Jul 29, 2009 TBA WLAV Blues on the Mall Grand Rapids, MI <br>
Jul 30, 2009 TBA WMMQ Blues on the Square Lansing, MI <br>
Jul 31, 2009 TBA Beachland Ballroom Cleveland, OH <br>
Aug 1, 2009 8:00 PM Erie Art Museum Jazz and Blues Fest Erie, PA <br>
Aug 3, 2009 TBA Mexicali Live Teaneck, NJ <br>
Aug 4, 2009 TBA Musikfest 25th Anniversary Bethlehem, PA <br>
Aug 7, 2009 TBA Riverfront Blues Festival Wilmington, DE <br>
Aug 8, 2009 7:00 PM Heritage Music Blues Fest Wheeling, WV <br>
Aug 9, 2009 TBA Kitchener Blues Festival Kitchener, ON <br>
Aug 13, 2009 TBA Boulder Station Casino Las Vegas, NV <br>
Aug 14, 2009 TBA Texas Station Casino Las Vegas, NV <br>
Aug 15, 2009 1:00 PM Reno-Tahoe Blues Fest Reno, NV <br>
Aug 21, 2009 9:30 PM Cool River Draught House Homer Glen, IL <br>
Aug 22, 2009 6:00 PM Ribberfest Madison, IN <br>
Aug 26, 2009 TBA Oskar Blues Lyons, CO<br>
Aug 27, 2009 TBA Stargazers Theater Colorado Springs, CO <br>
Aug 28, 2009 TBA Lucky Monkey Trinidad, CO <br>
Aug 29, 2009 TBA Trinidaddio Blues Fest Trinidad, CO <br>
Aug 30, 2009 8:00 PM Little Bear Saloon Evergreen, CO <br>
Sep 6, 2009 TBA Heart of America - Living History Blues Fest Urbandale, IA <br>
Sep 11, 2009 Shamrock Pub St. Louis, MO<br>
Sep 12, 2009 9:30 PM Greater Ozarks Blues Fest Springfield, MO <br>
Sep 16, 2009 TBA Lafayette Tap Room Buffalo, NY <br>
Sep 18, 2009 TBA Camp Jam in the Pines Medford Lakes, NJ <br>
Sep 19, 2009 TBA The C-Note Hull, MA <br>
Sep 20, 2009 3:00 PM Rockland Blues Cruise Rockland, ME <br>
Sep 23, 2009 TBA (The New) L'Astral Montreal, QC<br>
Sep 25, 2009 TBA Warmdaddy's Philadelphia, PA <br>
Sep 26, 2009 TBA Warmdaddy's Philadelphia, PA <br>
Oct 3, 2009 TBA The Landing, Peoria Riverfront Peoria, IL <br>
Oct 7, 2009 TBA Blues On Grand Des Moines, IA <br>
Oct 8, 2009 5:00 PM Murphy's Lounge Omaha, NE <br>
Oct 9, 2009 TBA Knucklehead's Saloon Kansas City, MO<br>
Oct 10, 2009 TBA Uncle Bo's Topeka, KS <br>
Oct 13, 2009 TBA Little Bear Saloon Evergreen, CO <br>
Oct 14, 2009 TBA The State Room Salt Lake City, UT <br>
Oct 16, 2009 TBA Cafe Boogaloo Hermosa Beach, CA <br>
Oct 17, 2009 TBA Legendary Rhythm and Blues Cruise San Diego, CA <br>
Oct 24, 2009 12:00 PM Legendary Rhythm and Blues Cruise San Diego, CA<br>
Oct 24, 2009 9:30 PM Humphrey's Backstage San Diego, CA <br>
Oct 26, 2009 7:30 PM Sierra Nevada Brewing Co Chico, CA <br>
Oct 29, 2009 TBA Crystal Bay Casino Lake Tahoe, CA <br>
Oct 30, 2009 TBA Biscuits and Blues San Francisco, CA <br>
Oct 31, 2009 8:00 PM SLO Blues Society Dance Party San Luis Obispo, CA <br>
Nov 1, 2009 TBA Sacramento Horseman's Club Sacramento, CA <br>
Nov 3, 2009 TBA Boulder Outlook Hotel Boulder, CO <br>
Nov 4, 2009 TBA The Zoo Bar Lincoln, NE <br>
Nov 5, 2009 TBA Northland College Ashland, WI <br>
Nov 6, 2009 TBA MN Music Cafe St. Paul, MN <br>
Nov 14, 2009 TBA Clearwater Theater West Dundee, IL <br>
Dec 19, 2009 9:00 PM Fitzgerald's Berwyn, IL<br><b><br>
Are You Ready To Take Your Music Career To The Next Level?</b><br><a target="_new" href="./careermentoring.cfm"><span style="color: rgb(0, 0, 255);"><b>Click here for more info</b></span></a><br><br type="_moz">Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106232010-05-26T17:50:00-05:002010-05-26T17:50:00-05:00How To Supercharge Your Band's BookingsThe following is a guest post by Joe Lilly. Joe is a professional internet marketer and guitar player based in Las Vegas. You can read more of Joe's excellent writing here <a target="_new" href="http://baldguitardude.com/"><span style="color: rgb(0, 0, 255);">http://baldguitardude.com/<br></span></a><br><b><br>
Getting More Gigs That Pay More</b><br><br>
It's a common problem with local bands - you have a great press kit, a good demo and a great look. You have a decent following. But for some reasons the bar owners and booking guys aren't following up and don't answer your calls. You're stuck playing the same Irish pubs night and night again. You really need to get some new ears on your music but it's tough when the booking guys won't call you back. If you've felt like this, you aren't alone. Lots of musicians feel as if the booking guys aren't driven by booking the best musical acts possible.<br><br>
I have a secret to tell you....<br><br>
They aren't.<br><br>
(Technically it's not that they don't care about great music - it's that you are not memorable or different enough to warrant a listen to your demo or a call back. This is a common problem in businesses of all types and seems to really frustrate musicians, who tend to care a lot more about making music than they do follow up calls.)<br><br>
Just like rehearsing or practicing your modes, marketing yourself is something you just gotta woodshed. I used to make 150-200 calls per day to businesses that had absolutely no interest in buying what I was selling. At times that 'something' was whatever I was schlepping for my day gig. Sometimes that 'something' was me or my band. I learned the hard way that in order to get attention from the booking guy (your prospect) you have to be different and memorable. Lucky for you, I'm going to teach you how to do that. These techniques are EXACTLY what I used to book tons of gigs...and build an internet marketing business that generated $100 million in revenue last year.<br><br><b>Laying the Groundwork: Abandon Your Current Approach</b><br>
I would bet my ES-335 that your current sales process looks something like this: You hear about a venue and decide it would be a good place to play. You either a) call and ask for the booking guy, or b) stop by and ask for the manager/booking guy. They either a) blow you off and ask you to mail a kit, or b) tell you they aren't available and ask you to leave a kit with the bartender. So you do. You also ask the name of the decision maker. After waiting the obligatory 2-5 days you make the ol' follow up-call or e-mail. That goes down something like this: "Hey, Mr X, this is Joe Lilly with the Joe Lilly Band. I mailed my kit to you and wanted to ensure that you received it and talk about playing a show at your bar/venue. Please call me at XXX-XXXX...."<br><br>
What exactly is wrong with that? It's the easy way out and 95% of people do it half-baked. It's the business equivalent of karaoke. Mr. X gets 10 lead guitarists per day dropping off 10 press kits, and soon all the calls, all the kits, all the everything starts to blend together with his AOL install CDs and pictures of his cat. Mr. X starts making booking decisions on stupid things like "do I like the way the kit looks?" At the very least he'll ditch your kit without giving it a listen if he doesn't like your chosen font or shade of blue. So.....take all of that and and stop it. Just stop. Instead, use my simple 3 step approach.<br><b><br>
Step 1: Represent Yourself During the Introduction</b><br>
Did you see Boiler Room? How about the scene where Ben Affleck tells the trainees to "act as if?" Although we aren't hard-selling bogus stocks, there's a lot of wisdom in this approach. Let me explain: Instead of acting like a guitar player trying to book his band, you should act like an agent trying to book his superstar act. If you're going to the venue, dress professionally. If you're calling, do so from a quiet location. Don't wear flip flops or call from Hardee's...and never, ever, EVER tell ANYONE that you are a member of the band. Instead, your introduction should sound like this: "Hello, my name is Joe Lilly with Lilly Entertainment. I represent a number of regional acts in the Midwest and happen to have a fantastic group pulling through your neck of the woods on [date you'd like to play]. I've taken the liberty of sending you a kit, and will call you on [name a date] to discuss your venue's schedule that night and talk about getting an agreement together. I understand if you already have a headliner - my boys are happy to open since they're new to the area. If you have a moment, please call my direct line at XXX-XXXX. If I'm on the phone just leave a message with my receptionist and I will do my best to drop everything and get back to you. Thanks so much."<br><br>
Why this works: You sound professional. You sound like you're running a business. You sound like you're successful enough to have a receptionist. You are also not asking permission to call back - you're telling Mr. X what you are doing and you are (most importantly) assuming the sale.<br><br>
Real World Example: When my band was ready to start playing out, I used this technique to book us at a very popular pub outside of Chicago, IL. After our first show I followed up, again using this technique. They were so impressed with us that we earned a standing monthly gig at this little pub. That earned us well over $10k in the first 12 months we performed there.<br><br>
[If you have HUGE cajones, add this: "I don't normally book acts without visiting the venue first, but I've heard about you guys and you seem to have a good reputation so I'm really excited to talk to you about this." ]<br><br><b>Step 2: Assist Yourself During the Follow Up</b><br>
In most worthwhile venues the booking guy will have a gatekeeper answering the phone. The receptionist's job is to ensure that Mr. X is only talking to important people. So....you need to prove that you're important. How do you do that? Simple. Call on behalf of yourself and act like your own gatekeeper. I know what you're thinking. "That advice and a few orange midgets puts me in the chocolate business." Bald Guitar Dude doth retort - this step is a golden ticket to ENSURING that you will connect to Mr. X. Let me roadmap it out for you. Your call will sound like this: "Hello, this is Jeff Anderson calling from Joe Lilly's office at Lilly Entertainment. Mr. Lilly was hoping to connect with Mr. X. Is he available? If so I have Mr. Lilly standing by." One of two things will happen: 1. You'll get through and connect to Mr. X, now magically yourself. 2. You'll leave a message or (preferably) request to be sent to Mr. X's voicemail. In this case, leave a voicemail as Jeff Anderson.<br><br>
Why this works: Mr. X starts to think that your time is so important that you have to have an assistant call Mr. X on your behalf. Mr. X thinks you are the best agent in the region and feels like a big fat wank for not knowing who you are. Other fun facts: Almost nobody notices similarities in your voice enough to realize that you are acting like someone you aren't. At most you'll get "You guys sound a lot alike," to which you say "yeah I don't like to talk about it but he's my half brother."<br><br>
Real World Example: Bald Guitar Dude got his band a gig at Taste Of Chicago using this technique. Oh....and no press kit was sent. (It happened that the agent had just had a band fall through and she was panicking. She checked us out online and booked us on that call.)<br><br><b>Step 3: Revive Unresponsive Leads</b><br>
Now that you have a list of venues who can't wait to book your band, it's time to dust off the folks that don't remember you. (Remember them, from before you read this article?) Here's how to get them crawling back to you. Invent a name for yourself and call when you know Mr. X WILL NOT be in the office. (This is counterintuitive but stick with me here.) The objective is to get his voicemail. Call on as your alter ego and say the following: "Hey X, how've you been? It's Steve. Haven't heard from you in a while so I thought I'd call and see what you're up to. My number in case you forgot it is XXX-XXXX. Oh, by the way, man, I have great news about - [click] -." And, that's right, hang up the phone mid-message. Just make sure you leave your number before you hang up. Mr. X will call you back within 72 hours. When Mr. X calls back, just remember the name you used and act as if you've been representing the band (a la step 1).<br><br>
Why this works: Booking agents talk to loads of people all the time and are frequently big networkers. They have no idea who half the people are that they talk to. By acting informal and cutting yourself off mid-message, they assume you're an old colleague or friend that they haven't heard from in forever and that you have some exciting news that they need to talk to you about ASAP. Oh...and that you use AT&T wireless because a trendy iPhone is more important to you than reliable cellular service. I tested this method extensively when I was in inside sales. This increases the "return call probability" by about 300%.<br><br>
Real World Example: I cold-called a senior executive at a very large (Fortune 50) financial firm, got a call back and wound up closing a HUUUUUGE sale. Due to a non-disclosure I'm forbidden from saying who it is but let's just say that their stock price isn't doing very well right now.....<br><br><br><b>Wrapping It Up</b><br>
I hope you've learned a bit about how to increase your bookings by being different and memorable. In addition to being effective, the techniques above are really fun. Once you're comfortable, use your creativity and try to think of your own ways to be different and memorable. Some of you might think this stuff is a hokey, which maybe it is. But what's better - being run of the mill, not memorable, and spending your weekends playing Playstation 3 and eating Papa Johns, or playing a couple of little tricks and booking yourself for bigger, better shows more frequently that pay more?<br><br><br><i>Joe Lilly is an internet marketer and guitar player based in Las Vegas, NV. He writes about music, marketing, and the benefits of dry heat at </i><a target="_new" href="http://baldguitardude.com/"><span style="color: rgb(0, 0, 255);"><i>http://www.baldguitardude.com</i></span></a><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106362010-05-20T15:10:00-05:002010-05-20T15:10:00-05:00Steve Nixon's Interview With Marty Sammon (Keyboardist For Buddy Guy)I'm excited to share with you my recent interview with good friend Marty Sammon. If you don't know of Marty yet you need to!<br><br>
Marty is truly a phenomenal blues keyboardist. He has toured the world many times over as the current keyboard player for blues superstar<b> Buddy Guy</b>. He's also worked with a plethora of famous names in both blues and the rock world appearing with such artists as <b>Eric Clapton</b> and <b>Carlos Santana </b>(just to name a few). <br><br>
It is to be note that you don't get opportunities like this by luck and Marty is an extremely skilled keyboard player and an all around great guy.<br><br>
Even though Marty and I only live a few miles from each other we both were in the middle of a heavy gigging period so we did the interview over email. Time is precious and technology is a beautiful thing!<br><br>
This is my first interview in my "Artists Interviewing Artists" series. I know you'll enjoy and learn quite a bit. Enjoy!<b><br></b><br><br><b><br>
Steve Nixon</b>: Can you tell us how the circumstances came about that you started working with Buddy Guy?<br><br><b>Marty Sammon</b>: I played with Buddy's brother Phil Guy since 1996. One Monday night in 2004 about 10:30pm I get a call and I didn't know the number on the ID. My brother was with me and said "That could be the call of a lifetime! You better answer it!" So the voice on the other line was Phil saying "Buddy wants you to work for him and y'all leave Thursday!" I showed up for rehearsal with my bags packed ready to go. We didn't leave right away like Phil said but Buddy handed me a schedule with a full year's work. Needless to say, I was thrilled!<br><br><br><b>SN</b>: What do you think are the main ingredients that are important to building your career as a musician and getting your name out there?<br><br><b>MS</b>: Lately I'm starting to think that reliability is the most important thing. If you develop a reputation of someone who shows up on time, looks clean, and is courteous and professional, you get more calls. I used to hate hanging out at jam nights over and over but it really is a good way to network. Any chance you have to play with different players of any style, take it. The best advertising for a musician is their live performance. If someone is trying to start a career I'd tell them to take any gig just to keep working and show that you're willing to work in any situation.<br><br><br><br><b>SN</b>: I know you got an opportunity to play with Carlos Santana. Can you tell the readers a little bit about that experience?<br><br><b><br>
MS</b>: Carlos is a super cool individual. I first played with him in Montreaux, Switzerland. Carlos hung out at sound check like one of the guys. Then we get on stage and he comes out, walks up to me and shakes my hand saying "You're the real deal, Man!" I'm playing there thinking of how I'm gonna take the DVD, blow up that scene and hang it over my piano at home. Of coarse they had no cameras on me at that particular moment. Carlos shows a lot of respect for all the music he plays and the people he's playing with<br><br><br><b>SN</b>: How do you handle life on the road as a touring musician and being gone from home so often?<br><br><b>MS</b>: I try my best to keep in touch with my daughter Katie. But really, touring as a musician has been my dream since I was about 7. My dream home was always a tour bus! I didn't know at the time what really went into it all. There's a lot of compromise and patience involved. You're basically living on a bus with a group of people that you have no affiliation with until you have the gig. If you keep in mind what you're there for it makes it easier. Maybe we're all crazy but home is really where you lay your head!<br><br><br><br><b>SN</b>: I know that you when you're not touring you gig fairly consistently in your home market (Chicago). How do you keep your "home" gigs and connections intact while being regularly away from "home"?<br><br><b>MS</b>: I'm very lucky to have some venues that understand my inconsistent schedule. I work a lot in Chicago but if you tell a club owner "I can commit to this gig until something else comes up" they tell you buzz off. But if I say " I'm there till Buddy Guy comes up with a gig" they're usually okay with it. There's enough musicians to fill any gig in town. However, I've gotten good at knowing when something will happen and when it won't. The hardest part is keeping the players I want in my band. Everyone has to work for a living so sometimes I use different players for my own gig. On the bright side, it keeps me versatile even as a bandleader!<br><br><b><br>
SN</b>: Did you grow up in a musical household? How did you learn how to play?<br><b><br>
MS</b>: Neither of my parents played instruments but they both encouraged it. I'm from an Irish-American household and traditional Irish music was always around. My grandmother on the Sammon side played concertina by ear and it's rumoured that that's where I got my skills from. I remember singing "Danny Boy" on the radio for my Grandma Griffin when I was a child. But later on my father paid for piano lessons and bought me an upright piano. Lessons paid off but the real education was when my father came home after having a few drinks and played his record player. He'd sit and watch me learn (by ear) all these popular songs from his era. He'd come to gigs and clap loudly if I was playing well but turn his head if I sucked! I never took it personally because I figured he had heard more music in his long life than I had so I paid close attention to his reaction. He's long gone now but I still see him turn his head nowadays when I'm not on my A game! I still say that I learn more from listening that I ever did reading!<br><br><br><br><b>SN</b>: In addition to being an in demand sidesman, I know that you also lead your own groups as well. How do you shift your mindset and/or playing when you are a frontman and leading your group?<br><br><b>MS</b>: To me it's not that difficult to switch mindsets because music is music! Period. But, the most difficult part of it is doubting myself. I play sideman to the best blues leaders in the world and I compare myself to them constantly. After playing 20 Buddy Guy shows, it's hard to front the band at his club while he's there and consider yourself "one of them" but I try to remember that everyone has their sound and their thing. The thing that sells most artists is their confidence and that's what I'm trying to show each time I hit the stage. I thought years ago that my own show was so great until I shared the stage with legends like Buddy, Otis, Carlos, Eric, and so on. Then I realized I have a long way to go. Lately I feel like I'm giving a good Marty show but that's only a recent feeling!<br><br><b><br>
SN</b>: What's your keyboard rig currently consist of?<br><br><b>MS</b>: That's a sensitive topic for me because as you know, keyboard players get the least amount of endorsement attention. But if you must know, with Buddy Guy I find the NORD keyboards produce the best organ and electric sounds (HINT TO NORD!) I have a NORD electro 61 and an 88 key piano-like keyboard on the bottom. If I had my way It would be an acoustic grand probably no more than 6 feet long. On my last record and my upcoming record I used my home grand piano and that was a pleasure! Keyboard players get the shaft! When we travel and hire backline gear, we're at the mercy of the provider! Guitar players bitch about their amps but at least they have their own instrument! But when your hands hurt and your ears are ringing from bad gear who notices? Only you. So I try to make the best of what they give me cause I could be given a mop and bucket and told to clean the floor! I'd rather play bad keyboards! <br><br><b>SN</b>: What 3 artists have influenced you the most as a player and can you tell us why?<br><br><b>MS</b>: You ask hard questions, Steve! You'll find my answer interesting! To think of three that had the most influence is hard but I'll try! First, let me say that Professor Longhair was the first style I studied without music. I listened to recordings over and over till I could almost play it. Then I played it the way I could do it. Before that I studied Scott Joplin rags till my fingers hurt. But those, I read the music for. He was the first guy to really incorporate syncopation into piano playing. He's also considered the first American Pop Artist. On a contemporary level I have to say Bruce Hornsby because he was the first guy I heard playing major scale pop music with a piano. But you ask a hard question and I have to point out that these 3 players I mention lead me to other players that equally influenced me like : Otis Spann, Billy Joel, James Booker, Billy Powell, Chuck Leavell. <br><br><br><b>SN</b>: What are you listening to right now?<br><br>
MS: I just played on Buddy's new record and the guitar player is one of the members of Storyville so I've got that in my player. Also been listening to a lot of old Muddy recordings for some reason. I've got a great Dr. John radio show from 1974 that I can't get out of my car player! And I'm not one to listen to guys I've played with so much, but, John Primer's album entitled "Original" is in regular rotation at my house. The groove and piano on that record is what I'm hoping to capture on some tracks on my next record.<br><br><br><b>SN</b>: In 2010, with the current skills you've already developed, how do you improve your playing? What do you practice?<br><br><b>MS</b>: Nowadays, I try to expand on what I'm listening to. I listen usually to a lot or music with great rhythm sections so I try to incorporate that into what I'm doing. I still practice with a metronome. The best thing is set your metronome on the 2 and 4 and play triplet scales over that. That develops great phrasing as well as a great understanding of groove. Piano players seem to never learn groove cause they don't have to play with anyone else if they don't want to. Playing to a constant 2 and 4 will force you to define a groove! That is if you're playing most Western Music. Most blues records I hear have great rhythm players and then there's a keyboardist who's out of pocket. Get it together! 2 and 4! That's where it's at! The tension you put between those is key! Not to be dirty but it's just like making love! I guess therefore, more love = better groove!<br><br><br><br><b>SN</b>: Do you have any advice for aspiring players in regards to how to improve their blues piano skills?<br><br><b>MS</b>: The best advice I can give anyone who plays any instrument is the same advice my teachers gave me. Listen to music! Listen to everything that is music. Take from all of it. Don't dismiss anything because of some label that people have put on it. You can learn from every recording out there. I've had students that want to learn blues piano. I say "What player do you wish to sound like?" They say, "I don't know any blues players. I just wanna learn to play blues!" That's incredibly terrible! Listen to the things that you wanna be part of. History repeats itself and it will continue to if you only LISTEN! You wanna play blues piano, listen to blues pianists!<br><br><br><br><b>SN</b>: You've had quite a bit of success so far in your career. What are your future goals going forward as a musician?<br><br><b>MS</b>: My main goal is to be a "stream of consciousness" musician. Meaning, I would be able to play what I hear at the moment much like we speak our language. As far as professional goals, I wish to become the player/singer/writer that can have international success and can be called to play with many different artists as well as front my own projects. When it comes down to it, I wanna pay my bills with my hands!<br><br><br><b>SN</b>: Thanks so much for your time Marty! It's truly been a pleasure. You're answers were really insightful and really informative. If you guys get an opportunity be sure to check out Marty playing with blues superstar Buddy Guy or solo. Marty, Thanks again. Lets grab a beer soon!<br><br>
For more information on Marty Sammon visit him at <a href="http://martysammon.com"><span style="color: rgb(0, 0, 255);">www.martysammon.com</span></a> His latest release is "190 Proof Blues" and can be purchased at <a href="http://itunes.com" target="_new"><span style="color: rgb(0, 0, 255);">Itunes.com</span></a> <a href="http://rhapsody.com" target="_new"><span style="color: rgb(0, 0, 255);">rhapsody.com</span></a> <a href="http://amazon.com" target="_new"><span style="color: rgb(0, 0, 255);">amazon.com</span></a><br><br><br><b>Are you finally ready to Take Your Music Career To The Next Level?</b><br><a href="./careermentoring.cfm" target="_new"><span style="font-size: medium;"><span style="color: rgb(0, 0, 255);"><b>Click Here To Learn More</b></span></span><span style="color: rgb(0, 0, 255);"></span></a><br><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106332010-04-30T12:30:00-05:002010-04-30T12:30:00-05:00Playing Music RoboticallyI've heard some people criticize other players for playing to "monotonous or robotically". This video is on a whole other level though. The engineer has definitely applied his own special talents to a "music career". Check it out....<br><object width="416" height="374" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" id="ep"><param name="allowfullscreen" value="true">
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<embed src="http://i.cdn.turner.com/cnn/.element/apps/cvp/3.0/swf/cnn_416x234_embed.swf?context=embed&videoId=tech/2010/04/28/marimba.robot.cnn" type="application/x-shockwave-flash" bgcolor="#000000" allowfullscreen="true" allowscriptaccess="always" width="416" wmode="transparent" height="374"></embed></object>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106322010-04-26T15:35:00-05:002010-04-26T15:35:00-05:00Your Reputation As a Musician<u><b><br>
Musical Utopia minus 1</b></u><br><br>
I just finished hosting a jazz jam session at my place in Chicago. It really was a lot of fun and almost an entirely positive situation. It was the type of jam where everybody was eager to play, learn, and to share their musical knowledge. This truly creates a wonderful environment to create music in. It's a rare experience for me these days. There was just one slight exception though to my "Musical Utopia". The drummer never showed up! He had committed and confirmed but was a no show. We played without a drummer for the entire 2.5 hours. He never called, emailed, sent a text...nothing....no contact. Of course the situation was made worse when an hour after the session I see him drinking coffee walking down the street (he lives across the street from me). Now, from a business perspective this created a particularly interesting situation that I want to examine in this post.<br><br><u><b><br>
Just a jam session or more?</b></u><br><br>
Even though I love this drummer's playing and have worked with him in the past my whole opinion of him has now changed. After today I can't ever feel comfortable hiring him or recommending him again. I need to know that the people I do business with are going to be responsible. I also need to know that if I recommend someone for a gig they will show up. My name and reputation is on the line. Now, he may have been thinking, "It's just an unpaid and casual jam session. What's the big deal? Who cares if I show up?". The answer to that is simple. On the higher levels of the music business we all care. Flakiness is absolutely not tolerated. It's an amateur move. <br>
The music business is a business based off of who you know and your personal reputation. When you tarnish your reputation you are essentially punching holes in the way you do business and limiting your options.<br><br><br><u><b>2.5 hours = $$$</b></u><br><br>
Here's another interesting way of looking at it. Giving some hypothetical examples of things that happen everyday in the music business. If I hire the drummer for 5 gigs a year paying $200 each. Then his this irresponsible action took $1000 out of his future pocket. Lets not stop there. What if on the 4th gig the bass player on the gig also loves his playing and decides he wants to hire him for his own project. That band plays twice a month and pays $125 a gig. Now we've taken another $3000 out of his future pocket. Of course this scenario can repeat itself over and over again if say for example the guitar player on the new gig also needs a drummer for his own gigs....another $2000 out of his future pocket gone.... and the cycle can continue indefinitely.<br><br><br><u><b>The Big Picture</b></u><br><br>
The bottom line that we as musicians must always keep in consideration is that even the smallest decisions we make can affect our careers in profound ways. Responsibility and Professionalism must be in place at all times. Every decision counts. Never forget that.<br><br><br>
Want more professional music tips? Click <a target="_new" href="./careermentoring.cfm"><span style="color: rgb(0, 0, 255);"><b>here </b></span></a><br><br type="_moz">Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106312010-04-21T11:06:23-05:002010-04-21T11:06:23-05:00How to Increase Your Band's Bookings (How to Influence Club Owners) Here are some really important and often times overlooked concepts to keep in mind when dealing with club owners. When applied properly your band bookings will great increase. <br>
<br><u><b>Booking Considerations</b></u><br><br>
1. On a scale of 1-10 how would your rate the quality/professionalism of your promotional material? (if it's not a 9 or above then it needs to be)<br><br>
2.How is your press kit? Are your recordings tight? Do you have nice pictures? Is your bio well constructed?...etc. etc.<br><br>
3. Do you have really great and compelling posters to hang up?...pro pictures...pro text on them?<br><br>
3. Are you placing highly visible ads in trade papers or local music sections? Do you hang them up in high traffic areas?<br><br>
4. Do you have a well constructed Facebook fan page? Do you have any relationships with corporate sponsors? Lots of bands have liquor or beer endorsements. Seek one out.<br><br>
This is just a small list and there are lots of other techniques!<br><br>
Keep this in mind though.....<br><br>
Club owners are business people first and music fans maybe second. Demonstrate that you can go above and beyond on the business level and they'll be much more willing to book you. <br><br><br>
Are you ready to learn more? <a href="./careermentoring.cfm" target="_new"><span style="color: rgb(0, 0, 255);"><b>Click here</b></span></a> for more tips.<br><br type="_moz">Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106302010-04-19T11:45:00-05:002010-04-19T11:45:00-05:00Announcing a New Artist Interview SeriesI'm excited to announce that I will be doing a series of artist interviews and posting them on the site. A number of top level artists will be featured from several higher profile national touring acts. Stay tuned and check back daily as I will be posting them regularly. This should be a lot of fun and very informative for everybody!<br type="_moz">Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106292010-04-17T16:50:00-05:002010-04-17T16:50:00-05:00Facebook for Musicians and Using Your Own WebsiteFacebook is a fantastic tool for certain purposes as musician. There are lots of personal and business reasons to use it as a social network. <b>It should by no means though be your only forms of communicating to your fans.</b> Make sure you're advertising your announcements and shows on your band's website as well. If you don't have one.....get one!<br><br>
Myspace (which is becoming more and more irrelevent) has taught us that if you invest all you time in building a community of fans on someone else's network, you're not protected if that network takes a dive and fans don't sign in anymore. But if you build your own community and develop a large email list, you're protected.<br><br>
So, a plan of action would be to build on multiple networks. <b>Your personal band website being the best of all by far.</b><br><br><br>
Ready to Learn More?<br><a href="./careermentoring.cfm" target="_new"><span style="color: rgb(0, 0, 255);"><b>Click Here to Learn More</b></span></a><br><br type="_moz">Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106282010-04-14T21:45:00-05:002010-04-14T21:45:00-05:00Inspiring Quotes for Musicians and All Creative ThinkersHere is a small sample of some of my favorite quotes. These little word gems both inspire and challenge me as both an artist, musician and human being. <br><br><b>"You miss 100 percent of the shots you never take."<br>
—Wayne Gretzky<br><br>
"We are what we repeatedly do; excellence, then, is not an act but a habit."<br>
—Aristotle<br><br>
"A wise man gets more use from his enemies than a fool from his friends."<br>
—Baltasar Gracian (Spanish Baroque author)<br><br>
"Do not seek to follow in the footsteps of the men of old; seek what they sought."<br>
—Basho (master of the Haiku)<br><br>
"People often say that motivation doesn’t last. Well, neither does bathing - that’s why we recommend it daily."<br>
—Zig Ziglar<br><br>
"Better to write for yourself and have no public, than to write for the public and have no self."<br>
—Cyril Connolly<br><br>
"Normal is getting dressed in clothes that you buy for work and driving through traffic in a car that you are still paying for - in order to get to the job you need to pay for the clothes and the car, and the house you leave vacant all day so you can afford to live in it."<br>
—Ellen Goodman<br><br>
"People cannot discover new lands until they have the courage to lose sight of the shore."<br>
-André Gide<br><br>
"What lies in our power to do, lies in our power not to do."<br>
-Aristotle<br><br>
"When the student is ready the teacher will appear."<br>
-Buddhist Proverb<br><br>
"Everything that irritates us about others can lead us to an understanding of ourselves."<br>
-Carl Jung<br><br>
"He who asks is a fool for five minutes, but he who does not ask remains a fool forever."<br>
- Chinese Proverb<br><br>
"Inspiration is for amateurs. I just get to work."<br>
-Chuck Close<br><br>
"And when the journey is done right, without shortcuts and without ulterior motives, it is most successful."<br>
- Sam Smith<br><br>
"We should be taught not to wait for inspiration to start a thing. Action always generates inspiration. Inspiration seldom generates action."<br>
-Frank Tibolt<br><br>
"You must be the change you wish to see in the world."<br>
-Gandhi<br><br>
"Every generation laughs at the old fashions, but follows religiously the new."<br>
-Henry David Thoreau<br><br>
"It is in self-limitation that a master first shows himself."<br>
-Johann Goethe<br><br>
"The 20 million who buy Britney Spears albums are not music fans they're popular culture fans."<br>
-Unkown<br><br>
"If we don't discipline ourselves, the world will do it for us."<br>
-William Feather<br><br><a target="_new" href="./home.cfm"><span style="color: rgb(0, 0, 255);">www.stevenixonmusic.net</span></a><br></b><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106272010-04-13T23:35:00-05:002010-04-13T23:35:00-05:00Concepts For Creating a Compelling Musician's BioEvery professional or aspiring professional musician needs a bio. Your personal bio is your way of introducing yourself to both fans and music industry types in a way that puts your best foot forward. Here are some very important concepts to keep in mind as you craft your own bio.<br><u><b><br>
Know Your Audience</b></u><br><br>
Before you begin your bio make sure you have a clear idea of who your audience is your writing to. What details will the people who are interested in your music and your business want to know about you? This should frame how you go about writing your personal bio statement. Always keep this in mind as you write. As an example: If I were a singer/songwriter I'd focus more on my albums released and the venues I've performed. In my case I have always tried to market myself as the consummate keyboard sideman. Someone who can add keyboard magic and upgrade a band’s sound. I’ve also wanted to show that I’m an educator too. So, I really made it a point for these things to come out in my bio and my presentation. Although, I do have personal fans, my target audience is more other professional musicians and people trying to learn music.<br><u><b><br>
Fundmantels of Creating a Bio</b></u><br><br>
Here’s a basic outline of how a bio can be setup.<br>
Your first paragraph should state exactly what you do and who you are. Don’t be afraid to sell yourself a bit but make it clear.<br>
Your next paragraphs can talk about some of the people you’ve played with and places you’ve played. <br>
Sell yourself by attaching yourself to brand names. Also, what are some common music venues that people have heard of? List those in your bio if you’ve played there. Even put churches on there if you’d like. <br><br><u><b>Limited Peformance Experience?</b></u><br><br>
So, here’s a common question that often come up. What should I do if I don’t have much of a resume or a lot of professional experience? Education experience can substitute in the beginning. List some of the people you’ve studied with. For example, I wrote in a early version of my resume, “While at Berklee, Steve studied with world renowned Hammond B-3 virtuoso Bruce Katz.”<br>
If you’re self taught and haven’t really done the education thing you’ll still use a similar concept. List some of the local groups or music events you’ve been involved with. I think the most important concept is to show you’ve had some experience and you’re involved musically. Demonstrating that you have musical relationships is really the key. <br><br><u><b>Keeping Your Bio Fresh and Current</b></u><br><br>
Last concept I want to discuss is updating your bio. As you progress along you want to slowly replace your education and local/ semi-professional groups in your resume with the bigger names. This will allow you to keep your bio shorter and more focused. It will also be more impressive. There are at least a thousand musicians I’ve played with over the course of my career. I've also played dive bars for 25 people and festivals for 25,000 people. Obviously, I can't list all the people I've played with and all the venues I've performed at. So, I try to focus on the cream of the crop. <br><br>
Finally, keep your bio about a page long. If you have a really powerful resume then you can stretch it a bit farther but a page is a good benchmark.<br><br><br><b>Are you finally ready to Take Your Music Career To The Next Level?</b><br><a href="./careermentoring.cfm" target="_new"><span style="font-size: larger;"><b><span style="color: rgb(0, 0, 255);">Click here to learn more.</span></b></span></a><br><br><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106262010-04-13T09:45:00-05:002010-04-13T09:45:00-05:00Great Jazz Internet Radio StationI was lucky enough to find this Jazz Internet Radio station a few days back. What a great find. You can choose what you prefer to listen to by decade, region, style, instrument, and many more. I highly recommend. <a href="http://www.accujazz.com/" target="_new"><span style="color: rgb(0, 0, 255);">http://www.accujazz.com/</span></a> Enjoy!! This radio station has really helped me teach teach my <a href="http://www.freejazzlessons.com" target="_new">jazz piano lessons</a> to the world and in Chicago.Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106252010-04-10T16:55:00-05:002017-01-12T19:48:53-06:00Hammond B-3 Drawbar Tips For Piano Players<div style="text-align: left; ">
<img src="//d10j3mvrs1suex.cloudfront.net/u/45854/4c477e0ca7f7aa67b77af9e49bae058defca4474/thumb/HAM-DRAWBARS.jpg?1377620125" class="size_orig justify_inline border_" alt="" height="94" width="125" />Many piano players who start playing Hammond B-3 Organ find themselves intimidated by the concept of drawbars. Piano players are used to creating tone from their hands, wrists, fingers, and the way they use their body to strike the piano. In the beginning, manipulating tone with levers and buttons can just feel strange.</div>
Here are a couple approach concepts that can really help you start your own map of the the "B-3"!<br><br>
1. First, just memorize the general sound/feel of 4 different drawbar settings. These will be your "sound reference points" Master organists can get infinite amount of colors out of the drawbars. That can be very intimidating and a life time's endeavor. You don't have to do that right away though. As you get really familiar with 4 settings you'll be able to use those sounds as reference points for your own drawbar manipulations. <br><br>
2. Here's an example of what I mean. Memorize the sound of the 3rd drawbar out <b>008000000</b> (this is the "fundamental" and happens to be a great ballad sound). Experiment with slightly pulling out other ones around it. Get a feel for the sound and emotion that creates. Pay attention to what speaks to you as an artist. This part is not science it's feel.<br><br>
3. Still want more specifics? Here are 3 of my favorites that I use all the time. You may want to start with these or choose others. <br><br><br><b>888800000</b>--- This is a really nice and full rock organ sound. It can be used for heavier blues sounds and soloing in both genres. So versatile!<br><br><b>808000008</b>--- This is a really nice blues and jazz comping sound. I play a lot of grooves with this sound. <br><br><b>888888888</b>--- I use this setting for complete stops out....Santana type organ sound and even really full and thick Gospel. This is power. Use wisely!<br><br>
Good luck and let me know how it works for you. Keep creating!!!! <br><br><b>Want to learn more about Organ and Piano Playing?</b><br><a target="_new" href="./lessons.cfm"><span style="color: rgb(0, 0, 255);"><span style="font-size: larger;"><b>Click Here to Learn More</b></span></span><span style="font-size: larger;"></span></a><br><br type="_moz">Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106242010-04-06T15:50:00-05:002017-02-01T13:11:28-06:00Jamming on John Lee Hooker....One Chord Groove Organ solo<object width="480" height="385"><param name="movie" value="https://www.youtube.com/v/RiJuB2BLx9c&hl=&start=59en_US&fs=1&">
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<embed src="https://www.youtube.com/v/RiJuB2BLx9c&hl=&start=59en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106212009-03-30T18:15:00-05:002017-01-12T19:48:52-06:00How To Develop and Use a Presskit So you’re finally getting good at your instrument and you have the equipment and the music to follow. Maybe you have gigs and places to play at. What do you do to get to the next step? How do you now use all of the time that you have put into your art and start climbing up the music industry ladder? What is one of the easiest things you can do to start getting better music business connections today? Enter the 21st century press kit....<br><b><br><u>What is a Press Kit and Why You Should Have One.</u></b><u><br></u><br>
You’ve probably heard this term thrown around a bit. A Press Kit is a digital and hard copy representation of your career as a musician. It’s very similar to a resume, it represents what you have done, the places and venues you have played, the people you have worked for and with in music, and your upcoming gigs in the near future. Musicians need Press Kits to send to management companies, record labels, gear and instrument manufacturers for endorsements, larger venues etc… This helps these people get to know you and earn your trust as a musician. They want to see what you have done and in a sense how big you are and what you can do.<br><br><br><b><u>What a Press Kit Should Include</u></b><br><br><b>Cover Page </b>– Who are you? This is the first image people will see of you and or your group. A nice cover page has a professional quality photograph and font. It should grab their attention and say “I’m different, read further…”<br><br><b>The One-Sheet </b>– This is usually the first page in a Press Kit. It includes your website, contact information, pictures of the biggest places and events you’ve played at (flyer images of those shows). Careful not to clutter this page, 2-3 of your biggest shows will do. The discography is also on this page, which are the albums you have done and/or tracks you have recorded on. Include pictures of the albums, dates, and titles. You should include a section on this page titled “Shared the stage which such artists as” which lists all of the musicians you have performed with – bigger names first. Include on this page any endorsements you have.<br><br><b>Biography</b> – This is a brief history of you. Where and when did you start? Nothing too long winded because you want to avoid any way of losing the reader’s attention. The bio should describe your greatest achievements and how you got to where you are today. Talk a little and outline your releases, tracks you’ve done or worked on. This page is what hypes you up a bit, no lies, just words crafted to express the best out of you and your career no matter how short you’ve been a musician.<br><br><br>
If you are making a Press Kit for a band or musical group, you might want to include short and a separate bio for each member. Outline each person’s greatest achievements and let the reader know “Hey, this group is made up of some great musicians”<br><br><br><br>
All in all remember that a Press Kit represents you. If you sending these out to more important folk like record labels, consider getting it printed and packaged nicely. Keep in mind ways to make yourself stand out because the music industry gets Press Kits all of the time, sometimes hundreds a day. Revise, revise, revise until it is perfect! Here's a pretty cool e-book/DVD on presskits that will also help you out <br><a href="http://www.amazon.com/gp/product/0966970594?ie=UTF8&tag=stevenixonmus-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=0966970594"><span style="color: rgb(0, 0, 255);">The Art of the Press Kit</span></a><img src="//www.assoc-amazon.com/e/ir?t=stevenixonmus-20&l=as2&o=1&a=0966970594" class="size_orig justify_inline border_" alt="" height="1" style="border: medium none ! important; margin: 0px ! important;" width="1" /><br><br>
Enjoy your endorsements and future gigs!<br><br><br><span style="font-size: larger;">Are you finally ready to Take Your Music Career To The Next Level?<br><a href="./careermentoring.cfm" target="_new"><span style="color: rgb(0, 0, 255);">Click here to learn more. </span><br></a></span><br><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106202009-03-25T11:30:00-05:002017-01-12T19:48:52-06:00Creating the Perfect Practice SpaceWhat does your practice space look like? I'm referring to the space, room, or area that you sit down and practice your instrument. Is it messy or is it clean? Does it have art hanging on the walls and various other furnishments that inspire? Is it bland and detrimental for you to succeed in efficient practicing? <br><br>
For a practice space to work for you, to allow you to be the most efficient musician when it comes to practicing, it has to be clean and void of all distraction such as clutter and garbage. One reason why this is necessary is that clean rooms, even nicely designed and furnished rooms, lead to better inspiration of the human mind. Why do you think big corporate companies hire expensive Space Planners and Interior Designers? <br><br><u><b>Setting up your Practice Space: </b></u><br><br>
Pick a room, if not already done, to start your practice routine in - every day. Set up your gear and instruments, and make sure that it is somewhat devoid of sound coming from other places - i.e. family, friends, pets etc...<br><br>
Set up a workstation, a place to keep your sheet music, documents, music and industry magazines, and lesson notes. Organize this area. For example, if you are looking for, let's say, a book on <a href="http://www.amazon.com/gp/product/0931759765?ie=UTF8&tag=stevenixonmus-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=0931759765"><span style="color: rgb(0, 0, 255);">Modal Jams and Theory</span></a><img src="//www.assoc-amazon.com/e/ir?t=stevenixonmus-20&l=as2&o=1&a=0931759765" class="size_orig justify_inline border_" alt="" height="1" style="border: medium none ! important; margin: 0px ! important;" width="1" /> you can find it quickly without ruining the flow and groove of your practice regiment. <br><br>
If you have a computer in this room, or a stereo or nowadays an ipod then this is ideal. This is a place where you can bring up jam tracks or recording software to practice too. Such as when you want to practice improvising in various keys or the original key, you can bring up a jam track or record some chord progressions quickly and easily without having to dig around. <br><br>
Set up the place in which you sit and actually practice your musical instrument. Make sure you have a good sturdy music stand and a spot to place your metronome. It should be close to where you keep most of your sheet music etc... The key here is to make sure the flow of your practice routine is as uninterupted as possible. <br><br>
Hang some magazine pictures of your favorite and most inspirational musicians on the walls. Any art that you like would work too. Anything that inspires you - color, photos, sculptures. But make sure it is clean and neat. <br><br>
When you walk in to the room, close the door and put your belongings somewhere away from your main station for practice, leaving the room as neat as possible and free of distraction. Turn your cell phone off! Neat as possible can not be any more important! <br><br>
Those are the first preliminary steps for setting up and maintaining a great, inspirational, and work friendly practice space. Practice makes perfect and allows us to become the best musicians possible, thus having a room filled with distractions - be it noise, garbage, clutter, clothes etc... - can easily throw us off track from our musical goals. <br><br><span style="font-size: larger;">Are you finally ready to Take Your Music Career To The Next Level?</span><br><b><span style="font-size: large;"><a href="./careermentoring.cfm" target="_new"><u><span style="color: rgb(0, 0, 255);">Click here to learn more. </span></u></a></span></b><u><span style="font-size: large;"></span><b><span style="font-size: large;"><br></span></b></u><br>Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106192009-02-26T20:20:00-06:002017-01-12T19:48:52-06:00Being On Time In the Music Business<br>
I’m going to share a sad truth right now. A truth that you will be able to use to your advantage. Most musicians disregard punctuality. I can’t tell you how many musicians I’ve encountered that are repeatedly late to things. Late to rehearsals, late to pick up times, late to meetings, late to gigs, etc. The list goes on and on. If you had a day job you sure as hell wouldn’t come late to that because you’d be afraid of getting fired. Well, I have news for you. It’s a quick way to get fired or never rehired in the music business too.<br><br>
It’s a huge problem. It’s seems like common sense that the people who mostly hire us are business oriented. Businessmen respect time and in general are not late. It’s important to remember that in business time is money. Therefore many people equate a lack of a respect for time as a lack of respect for moneymaking principles. People with gigs aren’t going to want to work with you.<br><br>
Now, here’s the good news. Just by following the simple act of showing up on time you’ll immediately increase your reputation for professionalism. People strongly take this in consideration when hiring again. This is huge! <br><br>
In the regular 9-5 world if you show up on time all the time it’s expected. In the music business world you’re considered reliable, honest, trustworthy, and a consummate professional. Even other players will look up to you. These are rave reviews that any business would die for. It’s almost comical how easy this particular skill is.<br><br>
Better yet my friends….try always showing up 5 minutes early. You’ll get the reputation of a saint. I learned this lesson the hard way.<br><br>
There was a period of about 6 months when I was the first call guy for a booking agent in town. He had a contract with several of the top restaurants (all owned by the same owner). I showed up to these gigs early, well dressed, and musically prepared. Until one day I was running a little later than usual. Instead of showing up way early like usual, I showed up 15 minutes before the gig. I setup my gear quickly and was playing at the normal start time. Although, I was a bit stressed in the beginning I felt the gig went without a hitch. Well, to make a long story short I was wrong. I was paid for the gig but was never called again afterward. I needed to get to the gig earlier and the restaurant had a reputation of elegance and charm. My rushing around for that 15 minutes wasn’t the image they were trying to sell. It was a hard lesson to learn but one that ultimately was great for me. I learned early on how important time is! <br><br><span style="font-size: medium;">Are you finally ready to Take Your Music Career To The Next Level?<br></span><b><a target="_new" href="./careermentoring.cfm"><span style="font-size: medium;"><span style="color: rgb(0, 0, 255);">Click here to learn more.</span></span></a></b><span style="font-size: medium;"><br></span><br><br><!-- AddThis Button BEGIN --><div>
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<!-- AddThis Button END -->Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106182009-02-11T22:55:00-06:002017-01-12T19:48:52-06:00Owning the Right GearIf you’re like me you’ve spent an absolute absurd amount of time working on your music and getting your playing together. Good instruments are essential to help transfer the sound and depth you've worked so hard to acquire. It's only fair to your audience. I don’t care how great of a player you are it will diminish your sound and your message playing on below average gear. Why would you ever want to do that? I try to get the absolute best gear I can afford. <br><br>
For example, keyboards that have poor internal sounds, guitars that have warped necks and cheap wood, drums that have cracked cymbals, flimsy shells, or cheap snare drums, cheap microphones. These things are all a no no. It’s also important that you maintain your amplifiers and all the electronics on your instrument. If you’re a guitar player change your strings regularly and have a back up pair just in case. Drummers make sure you have enough sticks for the gig and change your drum heads on a regular basis. Make sure you also have good cables and some backups if you can. It’s also really important to have some good cases to protect your instruments. This is your means of income and if you don’t keep your instruments in shape you can’t make money! I like to eat don’t you? <br><span style="font-size: medium;"><b><br></b></span><span style="font-size: small;"><b>Are you finally ready to Take Your Music Career To The Next Level?</b></span><br><a href="./careermentoring.cfm" target="_new"><b><u><span style="color: rgb(0, 0, 255);"><span style="font-size: larger;">Click here to learn more.</span></span></u><span style="color: rgb(0, 0, 255);"></span></b></a><br><br><br><br><!-- AddThis Button BEGIN --><div>
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<!-- AddThis Button END -->Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106172009-02-06T22:30:00-06:002017-01-12T19:48:52-06:00Essential Musical Skills: SightreadingAlthough you can get by in this business without reading music it becomes a crutch, is impractical, and limits your gig options greatly. Most people have to be even more developed in another area of their musicianship to make up for a lack of reading skill. It’s similar to your 5 senses. If one of them is weaker or non existent then you’d have to be even stronger in your other 4 senses to survive.<br><br>
For those of you who don’t read music please keep this in mind. <b>Learning to read music is very easy</b>. I’ve taught people with no prior musical experience to read music in 1 hour. I repeat…1hour. There is no excuse for not being able to read. If you insist on leaving this skill undeveloped your limiting your money making ability considerably.<br><br>
A more advanced but really essential skill is the ability to sight read. Sight reading is being able to read down pieces of music that are put in front of you the first time you see them. There a many gigs available for people who can sight read. In fact I venture to say if you can sight read there will always be financial opportunities for you in music. Here is just a small sample of gigs that I’ve done specifically using my sight reading skill. I’ve played at churches/temples, played for choirs, played for dance classes, accompanied singers, played charts in band/corporate gigs etc. etc.. I won’t even get into all the studio work available for accomplished readers. Sight reading and some basic marketing equals payday.<br><br>
Here’s some good news for those of you whose reading is not quite what we want it to be. Contrary to popular belief good sight readers are not born they are made. It’s a learned skill and can be practiced. Just like anything else if you practice it daily it will improve.<br><u><b><br>
How to practice sight reading</b></u><br>
So, how do you practice sight reading? Put a metronome on at a speed you can read a piece clearly on without stopping. I repeat don’t stop no matter what. Even if you leave out many notes as long as you keep form and rhythm your improving your ability. Read through it a couple more times each time trying to look ahead and pick up a couple more notes. Do this everyday and slowly progress to harder music. This simple task repeated daily is all it takes. Guaranteed improvement.<br><br>
Jaco Pastorious (one of greatest electric bass players ever) was considered by many a virtuoso and a rising star when he decided he wanted to become a great music reader. He started at ground zero and read through kids books in the beginning. Even though he was a world class talent he didn’t allow his ego to get in the way with developing the skill he desired. With focus and daily practice Jaco became a great reader. You can too!<br><br><b>Tip:</b> Take a “sight reading”lesson with somebody on your instrument who is a great reader. Watch how they approach things. Pick their brains. I did that myself and the $50 lesson paid off a thousand times over. <br><br><br><b>Are you finally ready to Take Your Music Career To The Next Level?</b><br><a target="_new" href="./careermentoring.cfm"><span style="color: rgb(0, 0, 255);"><span style="font-size: larger;">Click here to learn more.</span><br></span></a><br><!-- AddThis Button BEGIN --><div>
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<!-- AddThis Button END -->Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106162009-01-18T22:20:00-06:002009-01-18T22:20:00-06:00Chicago Blues Piano Instructional DVD I'm excited to announce that we've completed the final round of filming for my upcoming Chicago Blues Piano Instructional DVD. Shooting the footage was a blast but I couldn't believe the amount of time and work required! It was all worth it though.<br>
We'll be starting the editing and post production phases of the DVD in the upcoming week. I'm just thrilled with the way it's turning out so far. Stay tuned for further updates.<br type="_moz">Steve Nixon Piano Lessonstag:stevenixonmusic.net,2005:Post/106152008-08-14T13:00:00-05:002008-08-14T13:00:00-05:00Essential Musical Skills: Arranging<b>Ability to arrange</b><br><br>
Back when I was at Berklee there was a girl there who seemed to get all of the top gigs around. I’ll call her Jane for privacy reasons. I kept on hearing about Jane and seeing her everywhere. When I finally got a chance to see her play I didn’t understand the fuss about her. Jane seemed ok but nothing about her blew me away. Finally, one day I approached one of the artists she played with and asked them point blank why they chose Jane to play keyboards as opposed to the hundreds of other talents who could play circles around her (like me!!). Her answer blew me away and now I’ll share it with you. <br><br>
She said, “Well, I wrote my song with the melody and lyrics but Jane was the one who really turned it into a force and a real piece of music. She wrote all the instrumental hooks and brought the song together as whole. Every note counts with Jane and now my songs have identity throughout.” So, I said in response, “You didn’t hire Jane for her playing?” The response was quick, “Well, maybe a bit but really I hired Jane because she is sort of like my arranger and my hit maker.” Wow…I walked away stunned. What a great lesson!<br><br>
That particular conversation completely reformed the way I approached gigs there after. Here’s the overall concept I learned. Most of the time artists who hire you are asking you to not only play an instrument but more so to help their song’s identity. So, I take these concepts into consideration when I’m playing a part.<br><br>
What’s going to make the particular song you’re working with different or identifiable? How does the particular parts you’re playing relate to the song as a whole. Is it cohesive with the other instruments? Does it match the style of the song? Is it a verse idea, a chorus idea, a bridge etc. etc.? In the vast majority of popular contemporary styles every note is accounted for and carefully placed. We need to think like an arranger when we play. How jazzy, or complex, or how fast our licks are doesn't matter. What does matter is what we play adds to the songs, creates identity, and improves the song as a whole. Once I understood that concept I started appealing to lots more artists and frankly I had more gigs and made a lot more money.<br><br>
On a related note as your skills improve in this area you can actually get hired to just arrange for an artist. I’ve had several gigs where I was hired to create arrangements and tracks for artists. I didn’t even play keyboards on them. When you arrange you take a bare boned initial idea and build a whole song. Often times I’ll write guitar parts, bass parts, drum parts, horn parts, string parts, keyboard parts, etc. etc.<br><br>
There is a lot of money in this particular aspect of the business. Especially, if you get some producer credits on the track as well. So, how do you get arranging gigs? Well, having a good demo of songs you’ve done really helps. You can present this to an artist so they can get an idea what you can do with a song. Another thing you can do to build a resume is offer to do a track for free in exchange for free use of the track on your demo. From there it’s all about meeting people and letting them know what you do.<br><br><b>Tip:</b> Learn the basic functions and registers for all kinds of common instruments. For example, understand how to notate drums. Learn the transposition for horns, learn highest and lowest notes on an instrument etc. Learn what are the basic rhythm patterns that create a style. Everything you learn about music will help you. Build from there. <br><br><b>Are you finally ready to Take Your Music Career To The Next Level? </b><br><a href="./careermentoring.cfm" target="_new"><span style="font-size: larger;"><span style="color: rgb(0, 0, 255);">Click here to learn more.</span></span></a><br><br><br><br><br><br><br><br>Steve Nixon Piano Lessons