Studying Music Online

Brian John is a Student Advisor at berkleemusic.com. He has a Bachelors in Piano Performance from Miami University of Ohio, and a Masters in Composition from Longy School of Music. Brian’s background is primarily in Classical music, but a 4 year stint in a home-grown jam band gives him a unique perspective on both genres. He continues to compose and perform for people across the US.

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SOPA and PIPA – two acronyms that were made infamous on Jan. 18th 2012 as thousands of individuals and dozens of websites took part in what is now being called “Blackout Day”. The Stop Online Piracy Act and Protect IP Act were originally drafted to allow US Government agencies to bring criminal charges against, and to subsequently shut down, overseas websites illegally hosting copyrighted content. The broader Internet community, including giants like Google, Wired, and Wikipedia, became involved because these bills contained wording that was dangerously vague and open to interpretation and abuse. With these two bills now essentially dead in the water, it will be months or even years before another piece of legislation is in place to combat the piracy of copyrighted content.

A major portion of pirated content is media, which includes television, movies, books, and music. While this attempt at legislation was intended to punish those websites which provide pirated content, very little attention has been given to why pirating websites are so problematic in the first place. The true issue here is one of access. When creators do not make media available, consumers will search for, and find, other ways of acquiring it.

While governments need to step forward and create laws to protect copyrighted content, and in turn the copyright holders, no amount of legislation will be able to stop piracy. World-wide, the expectation of consumers is shifting to one of immediate and complete access anywhere at any time. The biggest piracy deterrent will be media companies catching up to the ‘access race’, thus making pirating websites obsolete and unnecessary. It is incumbent upon these companies to make their product easy to find and affordable to acquire. The average consumer will only turn to piracy websites if/when the company refuses access. By making the content available, the creator not only discourages piracy, they also control the medium in which it is distributed, which in turn allows them to control any and all revenue streams.

Independent musicians have been following this trend, and capitalizing on it for the past few years. It is common now for musicians to give music away for free to build a fan base, and to build a social media following. This trend actually allows independent musicians to capitalize on music piracy – by encouraging the sharing of their music, they are able to reach more people and build a larger group of fans. Once consumers become fans, they are more likely to have a vested interest in an artist and to support them by purchasing what the artists is selling, whether it be music or merchandise.

Established artists have also found ways to catch up in the ‘access race’ by allowing the sale of their music via sites such as iTunes and CD Baby. There are now also streaming sites such as Pandora, Rdio, and Spotify that offer access without ownership. If Sweden is to be any indicator, this increase in access directly leads to a decline in music piracy. According to Media Vision, a Swedish polling firm, illegal downloading of music is down by 25% since 2009. Considering that Sweden was the origin of some of the world’s largest pirating services, such as Pirate Bay and Pirate Party, this is a clear indication that legal avenues of access directly result in a decline in piracy.

One would expect the large, established organizations to take advantage of this trend. They have a captive audience that is clamoring for access to their product. A study released by telecommunications giant Ericsson indicates that over 70% of consumers are streaming, downloading, or watching recorded content and 36% of consumers are watching streamed on-demand movies. With access to the Internet now widely available through televisions, this trend is only expected to increase.

If content creators, especially the creators of major motion pictures, were to invest in direct-to-consumer access portals, their potential for profit due to monthly fees and advertising revenue is immense. Copyright holders, and the organizations that represent them, know that the content is out there and available already, so there is nothing to be lost in such a venture. In fact, there is everything to gain. Netflix, the predominant television and movie streaming company, currently claims more than 20 million subscribers globally, and they don’t even have the rights to stream the latest blockbuster films. Major networks like NBC, PBS, and Fox stream full episodes online. Consumers are starting to expect that their media will be available to stream online, and if it is available legally or illegally, they will find it.

The discussion surrounding copyright-protected material and how to best protect the creators of such material in a digital age will continue long after this blog is written. While SOPA and PIPA have been tabled, comprehensive reform is needed that takes into account all of the concerns raised in the recent debate. Whatever regulations are finally passed, it is up to the people involved in media creation to recognize and capitalize on all forms of distribution. It is also up to the people consuming this media to respect the work that has been done, and to recognize that these artists deserve be paid for their efforts.

Brian

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Berkleemusic’s next term begins on April 2nd, 2012.

Find out more at berkleemusic.com or contact a Student Advisor:

1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

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Michael Moyes is a Senior Student Advisor at Berkleemusic.com. He finished his studies at Baylor University, where he studied Piano Performance and Business. Michael has performed Piano as a soloist, in combos, and accompanied by full Orchestra. He holds Master Certificate in Arranging and Orchestration from Berkleemusic. You can hear some of Michael’s music on the Berklee Music Network and on Soundcloud.

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“Learning licks and expecting to know how to improvise is akin to memorizing phrases in a French book and expecting to know how to speak French. One can only truly learn language by conversing with other people”

This paraphrased quote showcases the ‘vibe’ (sorry) that Gary Burton gave off throughout our conversation about his new Gary Burton: Jazz Improvisation course. Gary taught his style of improvisation here at The Berklee College of Music for over 20 years while at the same time playing with Chick Correa, George Shearing, Stan Getz, and other world renowned improvisers.

Every song has a story to tell and it is our job as improvisers to provide our own unique accent, inflection, timing, etc. Simply playing mixolydian runs every time we see a dominant 7th chord or dorian arpeggios over ii chords is missing the point of improvisation. True improvisers should be fine tuning ideas and giving them emotional content as they perform much like you would do with words when having a verbal conversation.

Gary stressed the importance of knowing what you are going to say and planning how you will say it before opening your mouth, striking the keys, or lifting your mallets. When a president gives a speech, they have some ideas prepared: an introduction, main points, and a conclusion perhaps. Without having an idea of what you are going to say you might sound like this…

“Hello, my name is President Burton and um, today I’m going to talk about some very important things…like the errr…economy and…global warming…”

Sure, the speaker hit some points: the economy, global warming, etc. but failed to tell us a story. As listeners, we are left craving more information, hopefully from a better speaker. As a former transcriber of Jazz solos, I have fallen into the trap of parroting others styles and licks without really saying much of anything. Lucky for me and many of you, Gary is sharing his extensive wisdom with us so that we can form our ideas and communicate on much higher levels. See you in class.

Michael Moyes

*(this class filled up almost immediately last term so we recommend getting in early)

Check out this video of Gary for more…

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Berkleemusic’s next term begins on April 2nd, 2012.

Find out more at berkleemusic.com or contact a Student Advisor:

1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

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Brian John is a Student Advisor at berkleemusic.com. He has a Bachelors in Piano Performance from Miami University of Ohio, and a Masters in Composition from Longy School of Music. Brian’s background is primarily in Classical music, but a 4 year stint in a home-grown jam band gives him a unique perspective on both genres. He continues to compose and perform for people across the US.

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With our next term just around the corner, I thought I would take a moment to share a few ‘survival tips’ for jumping back into the learning environment.

Most of our students here at Berkleemusic are adults with active careers, whether in music or in another field. I was in the same boat as many of you not long ago. I experienced my ‘term of firsts’ last fall: my first online class, my first Berkleemusic class, and my first time back at school since attaining my degree. Through my experience, I’ve learned a thing or two about how to get the most out of these courses, so I thought I would share a few of them here.

1) Read early and often. As our veteran students know, and our new students will discover, there is a lot of material to absorb each week. Many students (myself included!) bolt through the lesson reading and get to the assignments as quickly as possible. While this may seem time-effective and efficient, you are really doing yourself (and your education) a disservice. I had this realization when I got to my first quiz at the end of my first week – I had read through the material, but I found that I had not absorbed nearly as much as I had hoped! Thus, I recommend reading the lessons at least twice: once before your major weekly assignment, and once after you have completed it. This will allow you to revisit the concepts you were introduced to with new insight, whether it was gained through your own assignment, or through viewing your fellow classmate’s assignments.

2) Be active within the course! Berkleemusic has designed these courses so that you don’t have to be online at any given point in time. However, it does not excuse you from being online! The network, and these courses, have been created with the intent that students will be learning as a community, and making connections within the learning environment. This is the purpose of having assignments viewable by every student within your specific course section. I know it’s sometimes intimidating to look at other assignments, and realize that perhaps others in the course have more experience and expertise than you. In my fist course, even in lesson one, I realized that most students had more experience, equipment, and knowledge than I. Use this to your advantage – ask questions, post feedback, or start a forum thread. Where else will you have the opportunity to learn not only from your instructor, but also from colleagues around the world?

3) Stay in touch. This applies to everyone within the Berkleemusic community. You can create contacts within the network, you can send a message to your instructor, and you can call your advisor. Instructors within our online courses are teaching because they enjoy sharing their knowledge with students around the world! They are there for you if you need clarification on an assignment, or on feedback that they have given. Take the time to get to know your instructors, as they are taking the time to get to know you and your work. Also, take advantage of your Berkleemusic Advisors! We are here as your resource, whether you have questions about technology, academic policies, or the next steps within your educational journey.

These are just a few techniques that I picked up during my first course, and I have been using them to survive and thrive ever since. I hope our new students find this helpful, and can’t wait to hear feedback from our veteran students as to what has worked for them! I look forward to working with you all this Summer, and participating with you as I continue my own academic journey.

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Berkleemusic’s online summer term begins June 27, 2011.

Find out more at berkleemusic.com or contact a Student Advisor:

1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

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Michael Moyes is a Student Advisor at Berkleemusic.com. He finished his studies at Baylor University, where he studied Piano Performance and Business. Michael has performed Piano as a soloist, in a combo, and accompanied by full Orchestra. He is recently completed his Master Certificate in Arranging and Orchestration from Berkleemusic. You can hear some of Michael’s music on the Berklee Music Network.

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1:23AM on Friday April 4th—ears and mind exhausted, I submitted my final assignment for Orchestration 2. This particular assignment also happened to be my last requirement for my Master Certificate in Arranging and Orchestration. It took me 2 years to complete this beast and I have been letting out a huge exhale since.

Writing music has always been a dream of mine but it’s not my core profession (yet). Tackling a Master Certificate while working full time as an online student advisor, being a husband, and trying to have a social life was tough, but would I do it differently if I could do it all again? No….and then again, maybe yes.

It is easy to get overwhelmed when working towards an ambitious goal. In a couple of my classes I fell into the trap of waiting until the end of each week to start working on lessons and assignments. When an advisor can’t follow his own advice, there is a problem. Carving out bits of time in the morning before work or in the evening after dinner ended up being the formula for me to stay relatively stress free, complete my work on time, and learn more from my professor and classmates. This method won’t work for everyone but I know students who use a lunch break at work to review their assignments, carve out time on Sundays to get a head start on next weeks lesson, post to discussion boards while on the tour bus, or even set their alarm one hour early every day so they can write or record distraction free. I assure you, the rewards will be plentiful and I am already seeing the benefit.

I have written plenty of pieces at this point and I am well equipped to write for Film and TV which was at one time merely a pipe dream. Former classmates of mine have morphed into industry contacts. Professors like Ben Newhouse and Beth Denisch have my back and are interested in hearing new music I write. Having relationships with people who readily endorse your work and give you great feedback and advice is invaluable. Essentially the seeds that I planted 2 years ago are starting to sprout and I am in a place I never thought possible. You can check out my Arranging and Orchestration projects on my Berklee Music Network profile.

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Berkleemusic’s next term begins on June 27, 2011.

Find out more at berkleemusic.com or contact a Student Advisor:

1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

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Mark Hopkins is a Student Advisor at Berkleemusic.com. He finished his studies at Berklee College of Music, as a Guitarist/Songwriting Major, in 2009. Mark is a regular gigging musician who has toured extensively and released 6 albums in the past 10 years. You can hear some of Mark’s music on myspace.com/markhopkinsmusic

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My name is Mark Hopkins, and I am a student advisor for Berkleemusic. I was lucky enough to get a chance to chat with my favorite guitarist, Wayne Krantz, while he was in town playing the Regatta Bar.

We talked about his experience as a Berklee student, the importance of music fundamentals and his approach to composition. It was quite an honor to pick Wayne’s brain and if you are a fan of music, like I am, you have to see this interview.

Michael Moyes is a Student Advisor at Berkleemusic.com. He finished his studies at Baylor University, where he studied Piano Performance and Business. Michael has performed Piano as a soloist, in a combo, and accompanied by full Orchestra. He is currently working towards his Master Certificate in Arranging and Orchestration from Berkleemusic. You can hear some of Michael’s music on the Berklee Music Network.

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What do the films Crimson Tide, Pirates of the Caribbean II, and Inception have in common?

Besides all being scored by Hans Zimmer, they all include elements of MIDI orchestration. MIDI Orchestration is the art of sequencing a piece with virtual instruments with the goal of making it sound like real musicians are performing it.

Since full Orchestras are hard to find (and expensive to hire), I took Orchestration 1 with Ben Newhouse this past Summer term to try and learn how to do this myself.

It quickly became clear that the days of 8 bit midi music a la Super Mario Brothers (NES) are gone; samples are very sophisticated now! When presented with 3 different orchestral audio examples and asked to pick out the one that was created with midi orchestration, I guessed wrong. A bit deflated, I asked around and a couple of my esteemed Berklee colleagues also couldn’t tell which production didn’t have live performers.

The audio samples and DAW technology available today allow composers without the luxury of a full orchestra at their command to compose and produce professional orchestral music. I purchased the East West Gold Symphonic Play Orchestra (at the discounted student rate) and worked with it extensively throughout the 12 week course. Other great libraries like Kontakt, Vienna Symphonic Library, and Garriton Personal Orchestra are also great libraries that can be used in the course. This brings up Ben’s second golden rule of Orchestration…

Rule 2: Use the best samples available.

In MIDI Orchestration, the samples are your performers, and you want performers who will make your music sound great. Mahler’s Symphony No. 3 is a great composition, but it will not sound like one if performed by your local middle school orchestra. Similarly, your latest masterpiece will not sound like a great piece of music if sequenced with the General MIDI bank on an average keyboard.

Just as you aspire for your piece to be performed by the New York Philharmonic, you should aspire for your MIDI orchestrations to be created with the best available samples.”

Orchestration taught me how to effectively write for each section of the orchestra so that my compositions could be played by a true full orchestra or produced digitally using modern technology.

Here is a project of mine so you can get an idea of what you may be creating:

The Pumpkin Waltz

The course is perfect for students who know how to read/write music and are familiar with using a DAW to sequence their music. Having a love of classical and film music from composers like Bartok, John Williams, Danny Elfman, or anyone else is plus! Check out Orchestration 1 if you want more information…

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Berkleemusic’s online winter term begins January 10, 2011.

Find out more at berkleemusic.com or contact a Student Advisor:

1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

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Brian John is a Student Advisor at berkleemusic.com. He has a Bachelors in Piano Performance from Miami University of Ohio, and a Masters in Composition from Longy School of Music. Brian’s background is primarily in Classical music, but a 4 year stint in a home-grown jam band gives him a unique perspective on both genres. He continues to compose and perform for people across the US.

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“Collaboration” is a scary word. It doesn’t matter if it’s a complete stranger or your best friend, when someone asks to collaborate, it raises all sorts of red flags. In many ways, collaborating with someone is like taking them on as a ‘significant other.’ It’s a very intimate, exposing, and delicate relationship that takes work and faith to develop. It can either go very right, or very, very wrong. In this post, I endeavor to relate a ‘best practices’ that have helped me keep my collaborations, if not sparklingly amazing, at least on an even keel and successful.

1. Agree on a goal: Having a well-defined goal is crucial to any collaboration. Whether you are forming a band, working with a lyricist, or hiring a publicist, everyone involved must be working towards the same vision. Before the collaboration begins, you yourself should have in place a solid idea of what you want to accomplish. Going into a collaboration with an unformed idea leaves you open to being hijacked by your partner(s) and their interpretation of your request. They may not realize that they are doing it, and you might not catch it at first, but nothing kills a collaboration quicker than realizing the project you end up working on is not the one you started out wanting to do.

2. Establish ground rules: How long should this project last? How should profits or proceeds be distributed? How should the division of responsibilities be handled? Should any additional people be recruited to help and, if so, who decides when/how they are brought on-board? The list of potentially contestable issues that could arise is too long to be published here, and I would most likely miss many important points. The thing to take away from this step is to think ahead, and anticipate conflict. I’m not saying you need a formal contract, but by agreeing to ground rules, you set yourself and your collaborators up for a successful and open relationship. Also, by discussing and establishing these ground rules, you learn a lot more about your partner(s) than you would otherwise—you may get to this step and realize that the person you are talking with is not the right one for your project. That’s ok! It’s better to find this out now and keep looking then to try and force things along with the wrong people. I liken it to putting one square tire on a hotrod—it ruins the entire machine. This brings us to step three:

3. Pick the right partner(s): This is, perhaps, the most difficult step in the collaborative process. I must admit, my first instinct is to reach out to my immediate circle of friends when I get a new idea, need a second point of view, or need someone with a particular skill set. This is self-defeating in two very major ways. The first is that you have a pre-existing relationship. This makes establishing ground rules and agreeing on a goal particularly difficult, as you are more likely to compromise your vision. Think about how many times a friend has talked you into doing something that you’re not entirely comfortable with. Now imagine that, instead of that extra drink at the bar, you’ve agreed to alter a portion of your project that can affect your entire musical career. Secondly, by recruiting your immediate friends and acquaintances, you limit your connections. The music business is all about fostering relationships, and meeting new people. Collaborations are one of the best ways to self-promote, but it does no good to show off your skills, ingenuity, and drive to the people who already know you! Ask your social network, reach out to friends of friends, join a local musician’s group—any of these options will allow you to meet new people and make new connections.

4. Begin: I know, this one is obvious. However, I can count on both hands the truly successful collaborations that I have completed. These are exactly equal to the number of collaborations that I have started. On the flip side, I have a drawer full of ideas half-formed and filed away for “another time”. I have logged hundreds of hours discussing potential projects with potential collaborators. All of your work on steps one through three are for naught if you and your group never take the first step. It’s scary, it’s nerve-wracking, but by following these steps you give yourselves a much higher percentage of success. You have a shared vision, you have a structured working environment, you have the right people by your side—now get out there and start doing what you love!

Julia Polanco is a Student Advisor at Berkleemusic.com. A Berklee College of Music graduate (Professional Music major and Voice principal), Julia has worked as a vocal coach in Los Angeles with Interscope Records, and as a lead and background singer, voiceover artist, and vocal coach in the US and Europe. Now in Boston, Julia currently performs as a lead singer with a high profile cover band, teaches voice privately, and writes and performs with an original band. Check out her website at juliasimonemusic.com.

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Ah, networking. We hear about it all the time but what is it really? The world wide web tells us that networking is just communicating. Could it be that simple? It really is!

As musicians, producers, performers, songwriters, or composers, it doesn’t matter how amazing you are, you need to know how to promote yourselves and how to network! The old days of having to be signed by a label to be heard beyond your own city’s limits are long gone. Things are different now. The tools are out there for independent artists to use, and most of them are free.

If it is viral—it will spread! I’m stating the obvious here, but instead of thinking about it in the figurative sense, apply this concept to your career. The internet has made networking very easy to do. It doesn’t matter where you are anymore, now you can reach out to pretty much anyone around the world.

I would start by recommending the obvious: Facebook, Twitter, YouTube, and MyspaceMusic. Many people use these sites for personal (and sometimes overly dramatic) content, but you can use it in a smart, original, and professional way. Major record labels use interns 24/7 to update statuses, post comments, reach out to fans, and tweet on behalf of their artists. You can approach it in the same way, no matter how “big” you are.

Here are great examples of how other musicians are making the most of these free social media sites:

YouTube: Karmin is engaging fans in a smart and original way with quality homemade videos of their original songs and covers. The perk with YouTube searches is that fans of the artists that you cover will find your videos while searching for their favorite tunes. Once captivated by the cover, the audience will then get to know your original music! Karmin’s latest video post already had over 13,000 views just over a week! http://www.youtube.com/karmintube

Twitter: Debbie and Friends – Debbie tweets about her concerts, radio shows, new videos, blog posts, and collaborations. Twitter is a professional, concise, and a perfect way to get your fans’ attention, let them know you, and expose them to all other media that you use on the web. http://twitter.com/DebbieCavalier

Myspace: Midatlantic uses MyspaceMusic to its fullest. On one page, you have an actual press kit with videos, music, bio, reviews, upcoming shows, contact information, and pictures. You can also see their fan base and buy their music, too. It’s ideal for musicians! http://www.myspace.com/midatlantictheband

Facebook: Dear Havannah plays it smart on Facebook. They make it personal yet keep it professional. Their wall is completely dedicated to their fans. Each post lets you know them as a band and as individual musicians. It’s a smart way to keep your fans engaged in what you do and to stay approachable. http://www.facebook.com/DearHavanah

Basically no matter what you do, keep it real, simple and network as much as possible. If you can think of a reference in regards to online networking or if you want to share your own don’t hesitate to post your comments below!

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You can follow @BerkleeJulia on Twitter, and become a fan of Berkleemusic on Facebook.

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Brian John is a Student Advisor at berkleemusic.com. He has a Bachelors in Piano Performance from Miami University of Ohio, and a Masters in Composition from Longy School of Music. Brian’s background is primarily in Classical music, but a 4 year stint in a home-grown jam band gives him a unique perspective on both genres. He continues to compose and perform for people across the US.

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Alright, it’s time to come clean—we all feel the same way about music theory: who wants to study a bunch of stuffy old dead-guy music to learn what people did 200 years ago? There are so many other things to study that are more interesting, helpful, and fun, right? Well, not exactly. Even if you don’t find music theory fun, it’s our history, our tradition, and in essence, the platform upon which all of what we do is built.

Whether we realize it or not, music theory is essential to being a successful musician. It is all around us, built into the core of the Rock, Blues, Jazz, and Classical styles. What makes these styles distinguishable is how they utilize the basic elements of theory. What would Blues be without the 12 bar form? What would Classical be without the big V-I cadence? Our culture is steeped in these traditions, and our ears have been trained to listen for, and even expect, music that follows these rules.

Now, here is why I think music theory is fun, and even exciting (yes, yes I know—bear with me). Because our music follows these rules, and even casual listeners unconsciously expect these conventions, we can create a unique musical experience by messing with the rules. Musicians playing with, stretching, and even breaking musical convention goes back to those stuffy old dead-guys. (If you don’t believe me, check out Haydn’s Surprise Symphony—the guy had a sense of humor!) They realized that keeping the audience engaged was important, and since they did not have fancy flashing lights, background projectors, or fireworks, they used theory.

The clever songwriter, composer, and even soloist learns the rules and conventions of music so that, at the precise moment, they can break the rules and do something so surprising, so unexpected, that they command immediate attention. It doesn’t matter if the audience realizes that the artist threw in a tri-tone substitute dominant, or switched modes, or even just pulled a deceptive cadence—they just know that, instead of the same old patterns, something new just happened. That, my fellow musicians, is the beauty of music theory.

So, the next time you listen to your favorite artist, whether it’s B.B. King, the Beatles, or even Franz Joseph Haydn, think about the moments that really catch your ear and draw you in. Odds are that it’s no accident—that surprising, unexpected, attention-grabbing moment that is the crux of every classic piece has its genesis in music theory.

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Berkleemusic’s online summer term begins June 28, 2010.

Find out more at berkleemusic.com or contact a Student Advisor:

1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

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Mark Hopkins is a Student Advisor at Berkleemusic.com. He finished his studies at Berklee College of Music, as a Guitarist/Songwriting Major, in 2009. Mark is a regular gigging musician who has toured extensively and released 6 albums in the past 10 years. You can hear some of Mark’s music on myspace.com/markhopkinsmusic

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Here’s a question I get all the time as an advisor for the online school and as a working musician: How do I get my own gig?

There is a fine art to becoming a successful working musician. Here’s the good news: you don’t have to be Picasso to do it (however, no finger painting, please). Half the battle is as simple as believing in your product. That’s right. I said your “product.” When you are a professional musician, you are in the sales industry. Don’t sweat it, though. You’re selling something you absolutely love: music!

Here’s a proof positive way to get ahead in your town’s music scene:

1) Fine tune your act. Whether it’s acoustic or a 7 piece funk/fusion band, you need to have a professional sounding product to turn some heads.

2) Explore Open Mic Nights. Where and when are they happening? What time do you need to be there to sign up? Grab the local city paper, scout it out online or in person. Be there early, shake a few hands, and get to know the other musicians. Most importantly, always be on time and make sure people know you are a reliable artist. That’s a rare commodity in the industry and you will shine amongst the group. Open Mics are a great resource to get your career started. Not only for the exposure, but also for the networking possibilities. I can’t tell you how many Open Mics I’ve done that have led to amazing opportunities.

3) Start thinking about how to market your product. You first and foremost need a Demo to start the grassroots campaign that will lead you to stardom. Don’t be afraid of rockin’ a Garageband demo. No need to be snobby about production quality—the most important thing is to have a solid song you can put in a future fan’s hand (we don’t notice how many hand claps are in your tune, and how they are mixed in perfectly with the snare drum).

4) Start handing out that Demo (with a flyer of your upcoming gigs) to every music lover you can find. “If you build it, they will come.” Sooner than later you’re gonna see some familiar faces at your shows. Sell your CD’s when you can, but don’t be afraid to hand them out in the beginning; consider it an investment in future merchandise sales.

5) Lastly, don’t forget to start an email list. Social networking is great, but Facebook and MySpace aren’t the alpha and omega. Fans still like getting personal emails from their favorite artists. On that note, give your fans a place to go besides typical social networking sites. Get an official website running where they can chat about how the new version, of that one tune, where you substituted a #9 chord for a regular old dominant seven, was mind blowing.

It’s a simple process, but it by no means takes minimal effort. Music is a business—the quicker you come to grips with that, the quicker you will see significant results. Most of all, as cheesy as it sounds, believe in what you’re doing. It will show through to your audience and the influential booking agents around you. Believe in what you do. It will take your career a long way.

Until next time, happy gigging!

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Berkleemusic’s online summer term begins June 28, 2010.

Find out more at berkleemusic.com or contact a Student Advisor:

1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

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