Itâ€™s either a song or a video, you hear it or see it and say to yourself I WANNA DO THAT! Thatâ€™s what created classic rock in the U.S., everybody seeing the Beatles on â€œEd Sullivanâ€ and picking up instruments and playing in bands.
The trappings always count. But they can never be the essence. When youâ€™re young you want to be famous, everybody wants to be rich. But if these are more important than the music itself, youâ€™ll probably have a very short career.
You ask your parents to buy you a Strat.
In the old days, you could learn how to play in school. Before people believed taxes were bad and not only were school music programs excised, teachers had to bring in their own paper, kids had to bring in all their supplies.
So the pool of musicians is smaller than ever before. Iâ€™m talking about people who have experience playing an instrument. Yes, you can create music using a computer program, but itâ€™s not the same thing. One can argue strongly that those who use the computer tools best are those with the greatest underpinning in music education.
3. LESSONSÂ Â Â
There are a few self-starters who can do without, but theyâ€™re the very small minority. Furthermore, you build upon fundamentals, get them wrong and youâ€™re just reinforcing bad habits.
You can take classes in person, you can take them online, but itâ€™s best to learn from a teacher.
May not make perfect, but it makes you a whole hell of a lot better than everybody else. You should be able to switch keys on the fly. You should feel as comfortable playing as talking.
5. PLAYING 2
At first you play in your bedroom, then you play with others. You learn from others. Sure, there are the exceptions who create great tracks in their bedrooms, alone, but they are rare. Playing with others you learn so much.
Like how good or bad you are.
Good players want to play with better players. If youâ€™re bad, youâ€™re gonna be with the other losers.
6. THE TROUGH
Youâ€™ve put in all this time.
First, you have to evaluate if youâ€™ve got it. If your friends have so much more skill than you, if youâ€™d rather watch ESPN than practice, youâ€™re a hobbyist. Thatâ€™s fine, the sooner you own it the better.
7. PLAYING LIVE
Gigs are hard to get and youâ€™re gonna suck.
Friends give you gigs. If the venue owner is not your friend, if you have no relationship, unless you can show a track record, and as a beginner, youâ€™ve got none, your efforts will be fruitless. Who does your father know? Does someone in the band knowâ€¦ Play school events for free. You know youâ€™re worth getting paid when if you say youâ€™ll pass, you wonâ€™t do it for free, suddenly an offer of cash comes through. Itâ€™s raw capitalism, supply and demand.
8. THE ARC
If itâ€™s getting harder to get gigs, get better or give up.
No one wants to hear your recordings except your fans. Youâ€™ve got none. Your mother and friends might be interested, but theyâ€™re not honest reflectors. Until someone not related demands tracks, youâ€™re not good enough yet.
Your first recordings will suck. Just like playing your instrument, recording is a skill, that you learn.
There will be next to none even if your recordings are good. If you havenâ€™t done the work, there will be no demand at all. If youâ€™re depressed and want to give up, do so.
If youâ€™re getting positive response, if youâ€™re getting better, post your music online, in both MP3 format and YouTube videos. These are land mines waiting to be discovered. You hope you become so successful everybody wants to check out everything youâ€™ve already done. Promotion is worthless. Everybodyâ€™s overloaded with too much information. Presence online gives you the possibility of traction.
12. AFTER TRACTION
Then you play bigger and better venues, mobilize your fanbase by giving them perks, which will motivate them to spread the word, and continue to make live performances and recordings available online.
But still most people wonâ€™t care. Youâ€™re an amateur.
13. GETTING LUCKY
If youâ€™re working the connections to break through, you probably wonâ€™t. Youâ€™ll get the opportunity, but youâ€™ll fail. Today thereâ€™s a plethora of people looking for talent. If youâ€™re good, theyâ€™ll find you. First it might only be venue owners, gigs will become less rare and better. Then it will be agents and recording companies. Development will be slow, but you can feel it. If years go by without this development, get better, give up, or change musical direction.
14. GIVING UP YOUR DAY JOB
This is more important than getting a deal. Record companies donâ€™t support bands anymore, only Top Forty phenoms. If you canâ€™t make it alone, youâ€™re never gonna survive. Donâ€™t complain, keep working, or give up.
You will continue to grow if youâ€™ve got it.
Will come much later than you think, long after youâ€™ve become comfortable being a journeyman. It takes just that long to reach everybody and convince them today.
1. TV TALENT SHOWS
Itâ€™s about television, not music.
Odds of success are low even if you win.
As for the exposure, you just become a trivia question.
Furthermore, theyâ€™re looking for pretty people with good voices. You need neither to make it in music, only on TV.
Just because you can make it, that does not mean anybody wants to hear it.
3. POSTING & iTUNES
Just because itâ€™s available to view and buy, that doesnâ€™t mean anybody wants to see it or purchase it.
A souvenir to be sold at gigs, nothing more. Anybody who will get you ahead does not want a CD.
Youâ€™ve got nothing to say. And like a date with a beautiful person with no personality, it doesnâ€™t last.
6. TV SHOWS & ENDORSEMENTS
Tying in with a corporation or getting your music in the background of a TV show may yield some cash, but it will never yield a career, not unless youâ€™ve got one to begin with.
THE HIDDEN SECRET
Because thatâ€™s where all the money is, in publishing.
It takes years to be able to write good material. Start now. Right afterÂ you learn how to play your instrument.
IF YOUâ€™VE GIVEN UP AND STILL WANT TO BE IN MUSIC
Go into the business.
You do this by working for free. Not even as an intern at an established entity. But by being on the college concert committee, helping manage a friendâ€™s bandâ€¦ None of this is for money, itâ€™s all for experience.
The easiest way to make it in the business is by attaching yourself to a great act. But great acts tend to want experienced people. They leave you for those with more seasoning, with connections. Furthermore, there are few great acts out there.
Many are clamoring to work in the business. Even if you get a gig, itâ€™s gonna be hard to keep it. Enjoy the ride, donâ€™t be in it for the money. Those in it for the money, who make it, could have made it doing anything, itâ€™s their personality.
Furthermore, there just ainâ€™t that much money in music anymore.
Nobody needs your music. They need air, food and water. And personal, physical comfort. If you want a career in music you must do your best to be necessary. And thatâ€™s got nothing to do with marketing and everything to do with the music itself, which is all based on the bedrock outlined above.