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!

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!

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.

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

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

Watch a short video with our Student Advisors discussing Berkleemusic’s Certificate Programs. These multi-course online programs provide students with:

• Solid qualifications and marketable skills for success
• 1-3 years of extensive training with Berklee faculty
• Berklee-certified credentials for their resumes

Browse Berkleemusic’s Certificates

Find out more at berkleemusic.com or contact a Student Advisor:
1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

“What do I do?”

“Where do I begin?”

“Where can I study music?”

“What the heck can I do with a career in music?”

Well, if you’re on this page, you are already 3/4 of the way there.

Berklee College of Music is the place to study contemporary music styles in the world… no, I take that back… the Universe. So, what’s the process? A lot of prospective students freak out to find that there is a live audition process to be accepted into the college. I am here to tell you the best way to approach that audition, and to cut down on that looming dark cloud of stress.

1) Be Yourself! You are who you are. Everyone that is applying and auditioning comes from different walks of life and different skill levels. The coolest thing about Berklee is how diverse it is. You are there for you, not Bob or Susan in the next room over.

2) That being said, remember what the website says, “Put your best foot forward”. That means do what you do best. If you are an amazing shred guitarist, or classical pianist, don’t walk in to your audition thinking you have to prepare a Jazz piece. Berklee has become more and more all styles than ever in the past few years; all genres are welcome! Concentrate on your strengths and really let that shine in your prepared piece.

3) Make sure you read the Audition Guidelines on Berklee’s site. That will show you exactly what you will be asked to do in your 15 minute audition. That’s right, 15 minutes! It goes by in a flash. I am sure you’ll find that there are some things you are unsure about (concerning your skills). If we were all musical geniuses we wouldn’t need to be auditioning for Berklee. The faculty members that will be proctoring your audition understand that everyone has strengths and weaknesses and they want to see how well rounded you are as a musician. For instance, some people are great sight-readers, but struggle with improvisation, and vice versa. Once again, see # 2.

4) Lastly, go in calm. Remember you are there because you love music! Don’t let one audition get in the way of that. A lot of people are crushed if they don’t get in to Berklee. It’s not the end of the world; you can always re-audition the following year. If you do end up re-auditioning think about how much further ahead in the game you would be than the first timers shaking in their boots.

All-in-all, I found my Berklee Audition to be a thrilling experience. It was a blast! Plus the faculty are great at making you feel at ease and you get to jam with them. Go in there with your head held high and do your thing with confidence and a smile on your face.

Berkleemusic’s online spring term begins April 5, 2010.
Find out more at berkleemusic.com or contact a Student Advisor:
1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

Student Advisor Amy H answers one of our most commonly asked questions, and explains how students interact with their instructors and classmates online.

Berkleemusic’s online winter term begins January 11, 2010. Find out more at berkleemusic.com.

Berkleemusic’s online winter term begins January 11, 2010. Find out more at berkleemusic.com.

Student Advisor Michael answers one of our most commonly asked questions about studying music online with Berklee.

Berkleemusic’s online winter term begins January 11, 2010. Find out more at berkleemusic.com.