Hey Patrick...long time!

I was just wondering if you had any input personally on how to go through college if you want to be a studio musician...I want to work on movie soundtracks, and become a recording artist. My flute professor doesn't really know what to tell me. Are there certain courses you think would prepare me better to sell myself in that area of playing? Right now I'm doing a BA with a concentration in flute, and a couple languages. I've learned a great deal already, but what direction should I take my lessons/classes? Thanks for your input!

-Dennis

I want to work on movie soundtracks, and become a recording artist.

Dennis, you don't need college to do either of those...

If you can play you can play...Getting a job in this field (soundtracks) requires that you be in the right place at the right time and get connected with people looking for this type of work. Anyone can be a recording artist.. You get the people, buy the studio time, record and market the product...bingo...you're a recording artist!

I would definately expand into music technology (recording) so that if you work for a studio, you can also offer the convenient service of adding your flute playing to people who need that service. That way you build a portfolio while working in the field...your name gets around and doors open...

Step One...get involved in learning the technology issues while continuing to work on your playing. Take some business classes..

Step Two...when your done with college, jump in with both feet and make it work..The first many years are the toughest to get established..Just keep your goal in mind and you'll stay on track.

Joe B

I could not have said it better Dennis, Joe said what I would say. The path I have taken to do some of the jobs I have gotten, and I have not gotten huge numbers, were based on connections I made that went back to college days, some were from colleagues I work with ...

but do remember this; you need to be a very very good sightreader and a nice person, in other words, shut up and play...play in tune and know your place in the ensemble, don't overpower people...be punctual and don't complain...

if you play well, or even play amazing and don't do the above, it won't matter, because there are people who are just as good waiting in the the wings...

Sightreading is NOT an issue. That and technical ability are my two strongest attributes. Plus, I like to think of myself as a nice guy. =) I need to start getting my contacts together...Thanks a bunch guys! It's not so much the degree, but the lessons. My lessons have been amazing!

P.S. I meant more of a studio musician than a recording artist, but I do want to do that also. I wouldn't mind producing my own CD's one day. Just not yet!

sightreading is not an issue, meaning you are a good sightreader?? just clarifying..you are a nice guy...

got it, what is the difference between a studio musician and a recording artist?? Take what you can get...maybe the diff is that you are acknowleged on your own CD and nameless on a soundtrack...

really good at sightreading. To me, a recording artist is someone like Amy Porter, James Galway, Paula Robison...people that put out CD's, and record and sell CD's as a means of supporting themselves also. I wouldn't mind doing that I guess...but I think my passion lies more with making beautiful music for movies...of course you dotakewhat you can get.

-Dennis

if you want to make money playing flute, you will need to take everything you get...and probably play for free a few times first

Dennis, and anyone else who reads this post, you said you are a good sight-reader, and I don't doubt you, but, in your opinion, what makes a good sight-reader??

Well, I think what helps me is noticing all of the tempi, characteristic markings, and doing a quick theoretical analysis to help in my interpretation of the reading. I am also able to read quite a few measures ahead of where I am, and store "images" of those measures in my head to play.

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Of course...practice is great also. I read everything I can get my hands on, and knowing the basic technique fundamentals helps with noticing runs.

you are on the right track Dennis, the key to sight-reading is not just to get the notes and rhythm correct, but to capture the character of what you are playing, especially in terms of vibrato and timbre, also, if you are doing session work, knowing where you fit into the scheme of things is very very important, look for Lydias Italy on PBS in your area, thats me playing all those themes, we recorded almost 30 short tunes in 3 hours, all sightread...