The Savvy Musician

by David Cutler

So you’re talented, well trained, and passionate about music. What next? The professional marketplace is flooded with outstanding musicians, forced to compete for a shrinking number of ""traditional"" opportunities. The Savvy Musician helps balance three overriding aspects of your professional musical (1) building a career, (2) earning a living, and (3) making a difference. Filled with clearly articulated concepts, detailed strategies, and 165 vignettes about actual musicians working to create a meaningful and prosperous career, this book examines critical elements often overlooked or misunderstood by musicians, and helps you take control of your career. Discover how to build an immediately recognizable ""brand,"" capitalize on technology―from Internet tools to the new recording paradigm, expand your network, and raise money to fund your dreams. The Savvy Musician is an invaluable resource for performers, composers, educators, students, administrators, industry employees, and others interested in a thriving musical future.

Genres: Music, Nonfiction, Self Help, Business

350 pages, Paperback

First published October 26, 2009

Reviews

[Devin · Rating 5 out of 5]

Notes
Career paths today look significantly different than those even a generation ago (p.2).
"There are not too many professional musicians. There are, however, too many of the wrong kind of musician." (p.3)-Robert Freeman
"Being talented is wonderful, but technical skills alone do not assure a successful life in this business!" (p.5)

Savvy musicians understand that finding a lifestyle that works is much more important than fulfilling traditional benchmarks of accomplishment. The ideal solution for one person might be the worst possible scenario for someone else (p.9). Few orchestras pay well enough to constitute a full-time living, and not every deserving candidate can obtain this kind of employment (p.12). When something doesn't go your way, that doesn't mean you are unqualified to be a musician (p.18). There are just a lot of people in the staircase. Sometimes rejection has little to do with content or potential but is instead the result of shortcomings in presentation (p.27).

Chapter 2: Minding your business
Nobody is simply looking to hire talent (p.30). The articulation of a precise career goal is helpful, but no employer employs someone who just has an idea; it is nearly impossible to sell a concept. Only a product has the chance of thriving professionally (p.31). An idea or concept becomes a product only when it is represented in tangible form. Ex: Written proposal, website, demo,recording, press kit, and business cards.
Any kind of service, skill, resource, or good can function as a product.
Music lessons can be marketed to schools, students, and parents (p.32).
*When creating a new product, consider the types of consumers you aim to attract (What interests do they have? Where do they spend their time? What is their age range and financial profile?). Don't make the mistake of trying to appeal to everyone, as reaching each constituency requires additional resources (p.33). Ex: Teaching studio targeting retirees.

*Consumers are only interested in purchases that benefit them directly. If your talents and passions are all that is offered, your product will be doomed. After identifying the target audience(s), consider their needs and priorities. Find ways to solve their problems (p.34). The more specific you can be, the better. Ex: Hopefully a private music instructor helps students improve, but why is this useful? Does it provide personal joy? Build self-confidence?
Your actual abilities only become a primary consideration after you have an audience's attention (p.35). By framing your product in such a way that highlights a unique area of expertise, you become the obvious choice when someone seeks that specialty (p.36). Ex: Performing Bach or teaching adults.

On Choosing Names: "For every product, prioritize finding a high-quality title (p.39). For prospective customers, the name creates a first impression (p.40). Fashioning a memorable and intriguing name is a crucial step towards creating strong brand identity.
On Slogans & Logo:A slogan is a short, memorable phrase used for advertising and branding a business. It can describe the benefit of your product, spirit of the company, or what differentiates your work. The best taglines are concise, usually 7 words or less, and easy to recall. ex: Violinnoation, private violin studio: Where Violin and Innovation Connect
A logo is visual element that represents your product.At the least it is a presentation of your name written with a special font, design, and color (p.41). But to make logos more memorable, it is helpful to include a graphic element that somehow conveys your mission, suggests the service offered, or describes the "attitude" of your business. Once a slogan and logo have been devised, they should appear on all appropriate materials, including business cards, letterheads, posters, brochures, contracts, and websites.
Consider the image you wish to communicate. "Hip and modern" or "traditional and sophisticated? "Professional but personable?"(p.42). Whichever trait you decide to go, there is one trait that should be included on every list: success.
"At the very least, draft a single sheet overview. This statement forces you to focus on what is truly at the heart of your operation. For greater detail, expand the plan, but limit it to 10 pages unless the enterprise is extremely complex (p.43).

At the very least, draft a single sheet overview. This statement forces you to focus on what is truly at the heart of your operation (43). Include: Vision (What are the hopes for the future?), Mission (What is the purpose of your business?), Objectives (What specific achievements do you hope to accomplish in the near future?), and Strategy (What specific steps must be taken to accomplish these objectives?) (44). Update your business plan at least every 2-5 years. Doing so will provide an opportunity to assess your progress and reevaluate goals (48).

Marketing is Everything
Don't fool yourself into believing that marketing is simply advertisements, business cards, and websites. Marketing is an attitude. It encompasses everything from brand name to customer satisfaction (50). A mind registers a product's name subconsciously each time it is heard. At a certain point, people begin to assume that familiarity equates to value (51).
January is quiet for most businesses, as people recover from holiday overspending (53).
A given neighborhood has endless potential for advertising (56). Many stores allow approved posters to be displayed in windows, and others have bulletin boards for fliers. Chalking sidewalks, brochure canvassing, and posters in restaurant bathrooms are possible. Don't forget to adorn your home with a banner.
Attract a potential client's attention by offering something of value for free. But this privilege costs their anonymity-they must disclose name and contact information. An effective gift earns you the right to begin a dialogue, which often leads to future purchases and increased trust (57). Outstanding customer service should be at the heart of ever marketing campaign (58). "There is no better marketing than word of mouth." Blind Internet searches typically only occur after other options have been exhausted (59). For a higher success rate, create some kind of incentive system. Offer discounts, prizes, free services, finder's fees, or special benefits to customers who bring in referrals. This marketing tool is extremely cost-effective because you pay only when a new client has been engaged-a 100% success rate! Useful connections for a classical violin teacher are local school string educators, youth symphony conductors, music store employees, and even non-classical violin teachers (60).

If you're interested in writing, consider submitting editorials/articles or working as a critic (62).
If someone from the media brings you positive publicity, make sure to send a thank you note (65). Save copies of all media mentions so that you may extract quotes, include articles in press kits, and reflect upon your impact. You can become newsworthy by commissions, premiers, newly discovered compositions (i.e. black compositions), a multi-cultural theme, and a diversity awareness concert (66-67).

No product can realistically thrive without powerful physical marketing materials (74). A well-crafted statement can be persuasive in promoting your message, while consumers assume that poorly written materials parallel inferior workmanship (75). A good title and attention grabbing thesis are essential, since it's difficult to recover after a weak opening (76). Consider the density-words per line; spacing between lines; width of margins; lengths of paragraphs (77). The quality of paper used makes a profound impact. Ordinary 20-pound stock looks flimsy. Take the weight/thickness, color, and material into account.

Bios
Accomplishments
Background-overcoming adversity is always interesting
Brand-What distinguishes your work or is important to you as an artist? Do you have a specialty?
Quotes- Powerful testimonials that have been written or spoken about your work (78)
With few exceptions, bios should be written in the third person (79). Include your area of expertise early on.
Various length bios may be requested (80). Maintain several versions. Standard lengths include 100-word, 250-word, and full page. Conclude with your web address so that interested parties directed to further information. Update your bio at least once a year.
*Consider approaching a local photography student at your local art school. They always need interesting portfolio subjects, and work is generally done under the supervision of a teacher. Cost is usually minimal or free.

Resumes
Opening Statement-Begin with a short, 1-3 sentence declaration emphasizing your strengths, objectives, or philosophy, stressing how they make you the ideal candidate (83).
Typical Headings- Work Experience; skills; performance highlights; awards & grants; education; Teachers/Coaches; Recordings; Other Accomplishments. Also include master classes, volunteer work, internships, etc. List dates and locations. In particular, people want to know what you are doing now. Stress your professional accomplishments over your education (84).
Resumes are short, typically limited to one page, choose every word carefully.
"Always send resumes in conjunction with a cover letter expressing interest in the opportunity and highlighting why you are the ideal candidate. In most cases, a couple of short but compelling paragraphs are more than enough.

Curriculum Vitae (CV)
If a resume is a career snapshot, then a CV is a detailed biography. They are longer, more in-depth accounts of your history. Someone fresh out of college might have a CV of only 5-10 pages, while one from a veteran could easily span 30+ pages (85). If outlining the teaching experience, include the number of students, topics covered, your responsibilities, and what made you stand out in that position. With awards, explain the meaning and competitiveness of each honor. Do this, however, with bullet points and extremely concise explanations. CVs often include repertoire lists, professional memberships, community service, or even hobbies. References and their contact information often appear on the final page (86).

* Every piece of information release to the Internet should serve some larger purpose, even if that means simply directing the reader to your website (93). A website is the ultimate marketing tool (94). "Without a website, your product is invisible." "If you are not actively promoting something, don't expect the site to help your career in any substantive way."
What step(s) would you like visitors to take once they get to your website? Sign up for a newsletter? Hire you?
What's in it for the customer-A special deal? Free information, joining a community, a great experience?
What Questions will Guests Like Have?
What will draw new viewers to your site? What elements will hold their attention and bring them back? (96)
There should be enough content on your site to answer all of the above questions (97).
Have one central focus for each page, and make it easy for people. Visit sites of your competitors.
"No music website should be devoid of audio. However, nothing is more irksome than unwanted music that cannot be silenced (98). Clearly outline services offered, how they benefit clients, and what distinguishes your product. Address likely questions. Your goals should be to produce a personal, unique website that is nothing less than visually stunning (100). No moving graphics or things that need to be loaded.
Send an email blast to everyone you know celebrating your new domain and inviting them to take a peek. Ask them to kindly forward the link to others if they like what they see (102). Include your web address on everything and conclude bios with a sentence inviting readers to visit.

Honing people skills is every bit as important as refining musical craft (138). Never speak badly about anyone (141). Keep track of everyone (147). As a rule, make contact with each valued member of your network at least once a year. Remind people you are still alive and appreciate their acquaintance. In person visits, cards, letters, and phone chats will have the strongest impacts (148).

Cold Calling
1) Introduce yourself 2) Develop rapport 3) Describe product benefits 4) General interest 5) Receive an invitation to schedule a meeting, re-contact at a later point, or submit materials for consideration (150). You typically 1-2 minutes to accomplish all 5 goals, underscoring the necessity of developing a script that is attention grabbing, specifically tailored, effectively delivered, and succinct. When phoning, use notes to help stay focused, but avoid word-for-word reading. Without rambling, answer all questions, and maintain a friendly tone. Take notes on the conversation, from business to personal. Always end with a thank you (150). For large requests, arrange an informal meeting if possible. Think things through ahead of time, and arrive prepared with at least one supporting document that provides something concrete to digest (151).
It often takes at least 5 interactions before an agreement is made (152). Do not expect anyone to get back to you.
"When someone else succeeds, view this as a triumph for all music, not a threat to your self-worth and preservation." (154)

It's imperative to keep clear records of all payments received and business-related expenses for tax purposes, as well as your own accounting and financial planning (160).
In the early phases of your career, one possibility is asking slightly less than the competition, providing an edge and compensation for your lack of work history. Perhaps you can maintain this lower amount until attracting a significant customer base, at which point the price starts to adjust upwards (162). Many people are suspicious of "cheap" products, believing they will also be inferior in quality. In fact, some clients automatically gravitate to the highest fee, assuming that this bloated price tag signifies supreme quality (163). There is no such thing as a"Take-back" in the business world. Once you have quoted a price, you may not subsequently change your mind and ask for more, even if you realize the original was too low. "Whether hired to perform, compose, teach or fulfill other tasks, contracts are essential unless you receive the entire payment in advance." For contracts include contact info, gig details, fee, deposit, special needs/requirements, and cancellation policy/penalty (164).
*Contractors or organizations that have compensated you more than $600 over the year must mail you and the government 1099-MISC forms, which state the amount of payment and show that taxes were not withheld (168). Most musicians began by running a Sole Proprietorship, or non-incorporated business run by a single person (169). "This is the easiest and cheapest kind of enterprise to operate". Maintain clear records proving the costs claimed, and only write off legitimate business, as opposed to personal expenses. "Proof" can be in the form of clear record keeping, receipts, credit card statements, or check stubs. If expenses are greater than profits, sole-proprietors may actually claim a loss (170). In order to be considered a business, however, you must show a profit at least three out of every five years. If not, your music is only considered a hobby, and the benefit of deductions is lost.

Many churches, synagogues, and other places of worship employ musicians. Work ranges from weekly service playing to pick up choir gigs and one time guest appearances.

When giving music talks: Leave out technical jargon and specialized language. Some people are extremely shy about their lack of musical knowhow. Build self-esteem with comments like "that's a great question," and always validate responses even if they're not 100% correct (202).

Thorough organized bookkeeping skills are particularly essential for private teachers (218).
There are public schools that allow music teachers to use facilities free of charge, since it benefits their program without requiring the music director to do additional work (219).
The process of enlisting students is comparable to the marketing of any product (220). Strong promotion, people skills, and widespread visibility are all invaluable. At least once a semester, create a studio bulletin that includes important dates and policies, student achievements, interesting performances, musical puzzles, etc (221). Arrange for studio outings(223).
You can author educational materials, how-to manuals, textbooks, musician biographies, and novels or children's books with musical themes (226).

Only under extreme circumstances should a performance extend beyond the two-hour mark (operas, all-night fundraisers, installations where the audience is free to enter and exit). When calculating duration for a concert, include time for applause, talking, beginning late, set changes, and intermission (256-257).
"Do successful alternatives diminish the value of traditional ones? The argument that musicians must embrace conventional rituals is just as perilous as unilaterally rejecting them" (272)

"No matter how much talent, dedication, and creativity you have, only products with an audience can sell" (274)

[Rachel Czech · Rating 5 out of 5]

I bought this book for a Music Entrepreneur Class at Mizzou. The questions Cutler raises are basic, but as a performer I never considered several aspects of putting a recital together that would ultimately boost the experience for everyone. I have a long list of ideas that I will be incorporating into my musical career this year. Better yet, I will have a personal website launched within the month! I recommend every musician wanting to develop their skills to create a lasting career to read this helpful book.

[Jenn · Rating 5 out of 5]

This is a VERY good book whether you're a musician or even someone trying to find a job. Gives ideas how to get your name out there and is a good reference tool for things like resumes and cvs.

[Loretta · Rating 4 out of 5]

Highly practical suggestions, inspirational real-life examples, intelligent organization. This book won't change the world, but it might make the life of the professional musician less daunting.

[Dan Graser · Rating 4 out of 5]

This a fine resource for the developing musician (solo performer, chamber ensemble, composer, etc...) who wishes to learn the best and most efficient practices for marketing, self-promotion, and funding especially.

After a wonderful re-framing of the oft repeated problem of there being too many good musicians for too few gigs, Cutler takes the reader through hundreds and thousands of good, practical suggestions. Ensembles and individuals who have been in the business for a while will likely be familiar with many of these and even still, these serve as good reminders. Also, along the way he provides hundreds of vignettes from recognizable artists to serve as efficient encapsulations of these concepts.

For me, the latter chapters, "Funding Your Dreams," "Outstanding Performances Plus..." and, "Artistry & Relevance," are the highlights and provided new ways of thinking on very commonly encountered issues. A lot of these are thoughts my ensemble had when thinking about our primary means of delivering the recital experience and where we might fit in with the crowd of chamber ensembles on the market.

One pet peeve I have with a lot of entrepreneurial works in the fields of the arts is the assumption that everyone is great and these are tips to help you over the finish line, so to speak. I would love for a book to devote equal time to the process of actually becoming great along with the practices of great marketing and self-promotion. It is true, there are thousands of very good performers out there in nearly every discipline, however, the result of this market saturation has not been hundreds of performers occupying the very pinnacle of their discipline, it has been to consistently raise the standard of the discipline with still a small few at the very top. A work geared for musicians that doesn't genuinely reinforce the idea that you can't just be good amidst the sea of other good musicians in your discipline, you need to be great and constantly re-proving that greatness, not to anyone but yourself, is a concept I really wish were reinforced more.

However, even though this work is not perhaps as philosophical as my own personal bias wishes it were, what it actually is, is a collection of hundreds of great practical suggestions for establishing yourself and thinking creatively about the business of becoming a professional musician. An excellent read especially if you have already enjoyed Angela Myles Beeching's, "Beyond Talent."

[MysticNightFall · Rating 5 out of 5]

This book was amazing especially for someone (like myself) who doesn't have the support or much of a budget to do what he/she wants to do with music. There are a handful of very big words here & there that you may have to look up the meaning of but other than that, it is very easy to read and I don't have to feel "dumb" or "stupid" because it's too hard to read or full of professional jargin only few will know about. One minor downside is when you get around to *Press Kits* I have a lack of understanding and was still confused even though it was explained alot throughout 2-3 chapters but that's just me. Other than that I'd highly reccomend this book and really take the time to use the links he has to these sites to your advantage, had it not been for this book I'd never found out about Music Grants (Like University Grants but it's for making music) and now I know something new NO ONE TEACHES YOU ABOUT

Time Taken to Read: 6 days

[Rebecca · Rating 5 out of 5]

Fantastic resource for anyone wanting a career in music in the 21st century. I borrowed this from a friend and need to get my own copy ASAP.

[Agnė Pasaravičienė · Rating 3 out of 5]

Some parts of this book are quite outdated (especially the ones about online marketing). Though most of the ideas and philosophical outlooks are still relevant up to this day.

[Camila Gil · Rating 3 out of 5]

A productive reading for a songwriter like me but it's not a big changer

[zuzu]

i’m glad i know how to to do taxes now

[Natalie Weber · Rating 5 out of 5]

Whether you're looking for inspiration or practical ideas, this book will deliver! Dozens of charts and lists provide handy references, and over 150 vignettes highlighting the efforts of musicians and organizations give you an idea of how an entrepreneurial mindset can play out in the real world. Author David Cutler has done a fabulous job of organizing a vast amount of material into the book’s 350 pages. And After reading it, I have a whole collection of websites that I want to look up for more information and ideas!

The Savvy Musician is geared to the professional musician more than the music educator, but the wealth of information ranging from business issues, to marketing, to event planning, and more is equally relevant for anyone running a business in the 21st Century. Many of the principles and ideas had me thinking of applications for both my music studio and my publishing business. I know I’ll be turning back to this book over and over again in the years to come!

Here’s a glimpse of the great topics you’ll find addressed in The Savvy Musician:
So You Want to be a Musician?, The Entrepreneurial Mindset, Minding Your Business, Marketing is Everything, Print Materials that Scream Success, Pounding the Virtual Pavement, The New Recording Paradigm, Extraordinary People Skills, Personal Finance for Musicians, Nice Work if You Can Get It, Funding Your Dreams, Outstanding Performance Plus, Artistry & Relevance, Leaving a Legacy, and Opportunity Brainstorm.

[Nathan May · Rating 3 out of 5]

There were plenty of great tips and inspirational nuggets to garner here, but golly! It did not speak well to the credibility of the book—which so regularly stressed the importance of proofreading and presentation—to be so riddled with typos. My favorite was when the title page for chapter three, supposes to be “Marketing Is Everything,” straight up had the wrong title, repeating the title of chapter two. I honestly expected him to at some point reveal it to all be a teaching tool, “See? You’ve been so distracted by a few arbitrary mistakes that my whole message was undermined! This is the importance of flawless presentation.” But it never came. Ah well.

Don’t get me wrong, I still enjoyed the book and feel like I got lotsa good thoughts from it. It tried to tie in examples from all corners of the music business and as such I feel like I have a better understanding of many aspects of the music world. But most importantly I have a more confidence and enthusiasm towards the entrepreneurial aspects of musicianship, and seeing as that was the point I’d say it was an overall success.

[Anne Ku · Rating 5 out of 5]

Excellent! Applicable to both classical and pop musicians. Very timely. A must-have. I should just order a copy for myself rather than hoard this library copy. Appendix A is great - opportunity brainstorm. Lots of examples of real musicians and their innovative means to carve a niche. Curated concerts - that's what I've been doing. A business career book for any musician who wants to succeed in this age.

[Ryan · Rating 3 out of 5]

This would probably make a great gift for anyone either entering or just graduating from music school. For anyone who has been working as a professional musician for any time at all though, to me it seemed like mostly common sense. I thought I might pick up a few helpful hints but unfortunately I didn't find anything in here of much use.

[pianogal · Rating 4 out of 5]

Pretty good book. A little basic at times and kinda choppy to read, but the info included is good. I liked the little vignettes about the successful musicians, except that it made me feel lazy and unproductive. C'est la vie, I guess...

[Rachel L.]

I won't take the time to finish this just now, but what I have read is really, really good. Certainly worthwhile.

[Tony · Rating 5 out of 5]

great book for musicians looking into becoming entrepreneurs!