Why my class policies are the way they are (or, how to make a living as a freelance musician)

I recently played a gig over the holidays for a very large local church. The gig comprised 16 services: two rehearsals and 14 performances. I got the gig because a colleague of mine gave my name along with a few others to a local contractor, and I was the first one to respond to his e-mail. I showed up to the rehearsal to find the music on my stand (read: no time to practice prior to rehearsal); it was pretty easy holiday stuff, very much in the vein of a musical (read: lots of key and tempo changes, dialogue cues, etc.). I had to find a sub for two services (I was nearly triple-booked one weekend--a good problem to have). I made sure to recommend a sub that I knew would make me look good, and I meticulously marked the parts, knowing that he would be stepping in to perform without the benefit of even one rehearsal.

After the run of the show, the contractor (who I had only met as a result of this gig) came up and thanked me for my good playing and said that he'd like to call me again: the church has a few big productions every year for which they tend to hire an orchestra. It got me to thinking about what causes a contractor to give a musician a second call. The first call is often the result of a resume submission, a referral from a friend, or perhaps an audition (that may or may not have gone the way you wanted it to--I've ended up on sub lists because I placed second or third). It occurred to me that these attributes were the kinds of values I tried to instill in my students and reinforce in my class. Rather than just tell my students this in syllabus-ese, I thought it would be interesting to ask a few folks who have called me a second time (and who are in a position to hire my students even now) to see what they valued in their musicians. Here are two responses, made anonymous.

My first contact with a musician is their 'first impression.' A quick reply to an invitation, even if it's a 'no,' and timely submission of paperwork tells me they are serious about their career and respectful of employers. Following that, it's important that musicians are organized, conscientious, punctual, prepared and respectful of others. Someone who strives to work with the orchestra as a whole, follows through on their responsibilities and is fully present will be called back before someone who has a great talent but displays a diva attitude, i.e. 'I expect', 'I want', complaining, excuse for everything, etc." --Executive Director, local symphony

In summary, the consideration that will motivate me to hire someone rests on the simple question, will this person make my job easier or more difficult? My goal is no secret, I want to assemble the best orchestra in the world--an orchestra that will show up early, be performance ready at the first rehearsal, and have no need to rehearse.

1. Politics have no place in my decision, I am not seeking friends nor hiring them. I may involve friends or make them but that is secondary. [...]
4. Attitude will then determine if they get a call back
5. Dependability is essential or they have no value to me. If I can't count on them I have to do my job over and won't set myself for that. [...]
6. Answering the phone and promptly responding to E-mail is directly related to attitude. If I am left hanging, I will move on and perhaps never return. Again, no response shows no respect, works me hard, leaves me stressed and weakens my position to hire another as I wait. I find this the biggest problem hiring musicians, delayed or no responses. The easiest way a musician can get hired is to answer the phone and the easiest way to not get hired is to not answer.

If someone answers the phone, says yes, comes on time and does their job well without an attitude, I will hire them every time I can and try to pay them as much as I can. I will want them happy and to love being there. --Seattle-area contractor

I've included these in my Canvas site, front and center, with the hope that students will realize that being on time, being prepared, responding promptly, etc. are not just my values, but the kinds of things that will get them working in music. I think, too, that this kind of knowledge is important in a world where "winning the big audition" is fast becoming a thing of the past.