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Guitar Workshops- Voices of ExperienceA visit from Mel Bay author Tim Farrell last January sparked this month's Guitar Sessions® cover story. Tim offered an acoustic guitar workshop at Fazio's Frets and Friends http://www.faziosmusic.com/ in Manchester, Missouri and found time to visit our publishing facility. Through our conversation over lunch and dinner, the Guitar Sessions® editorial wheels began to spin and I realized that the information Tim was sharing with me would make a good cover story. Tim ultimately became one of several gracious contributors to this article along with Richard Gilewitz, Jim Goodin, Pat Kirtley, Steve Kaufman, and John Standefer. In assembling this article I initially asked each of the six contributing guitarists the following questions: 1.) Which manufacturers do you represent? Do you offer any product giveaways? Pat Kirtley gently reminded me that money is not the only motivation for offering a workshop and I'm certain you'll find that thought reflected in the varied responses that follow. Stephen Rekas Tim Farrell
Most of my expenses are paid by the host of the workshop be it a school, store, festival, camp, etc. On rare occasions some endorsers have chipped in or pooled together. Sometimes the host venue charges a fee; other times they just open it up to the public for free. It usually depends on what kind of audience they target or anticipate. CD sales and book sales are part of the whole equation when doing concerts or workshops. I am treated to lunch or dinner occasionally but it's not a given and I don't expect it. In my workshops I introduce ideas about arranging for fingerstyle guitar, technique, various tunings, as well as the use of partial capos. It is a very important to build your audience and maintain contact with them via a mailing list. I circulate a clipboard at every workshop, no matter the audience size. In terms of the portion of my income derived from workshops, I would have to combine workshops with other forms of teaching such as regular lessons and specialized lessons. All of that together would come to about half of my income. By "regular lessons" I'm referring to regularly scheduled lessons. Specialized lessons would include the people who have specific needs who come to my studio once in a while, or those who request a private lesson with me while I'm on the road. One has to make a living and the bills at home don't stop while you are on the road- so you have to make some money. There are times, however, when a break-even tour might be worthwhile: For example, when you are trying to break into a new area and working towards setting up a more profitable return visit. Such was the case with my visit to the St. Louis area in January. There is one sure way to save on expenses: Be a cheapskate!! I try travel as economically as possible. When practical, I bring food with me or go to a local grocery store so I don't have to eat out all of the time. You can control the ingredients of the food you eat better that way too. I used to have a long-distance calling card but now I use a cell phone, which is much more economical if used properly. I have a family plan cell phone so I can stay in touch with my family more and it doesn't cost as much. I also use email, digital files, etc. as much as possible. Sometimes I ship materials ahead of time rather than taking it all with me on the plane, especially if I anticipate having too much luggage and/or I think the stuff will be safer if handled by a shipping company. I've had lots of great experiences on the workshop trail. The people who host the events are usually gracious and the attendees always give me as much as I give them. One particular occurrence that comes to mind involved a student named Charlie who attended one of my workshops on arranging for solo guitar. He obviously really enjoyed it and got a lot out of it. A year or two later he came to another workshop and asked if he could perform an arrangement that he done after the first workshop. He then played an absolutely stunning arrangement of the Paul McCartney tune "I Will". It really was excellent. One of the tunes I used as an example for that workshop was "America the Beautiful". Charlie said he was hearing the Ray Charles version in his head as I played and planned to go home and create an arrangement based on that. I can't wait to hear it! Tim Farrell Richard Gilewitz
I don't know how a given company may work with another artist, but it seems as if some sort of balance is achieved wherein the dealers, artists, and manufactures all contribute to a workshop in some fashion. Every situation may be different depending on whether the event is held on-site, at a separate location from the dealership, or at a big box store [like Guitar Center or Sam Ash]. There is no set formula as manufacturers often interact with music dealers with their own agendas. If people are interested in attending one of my workshops, they generally go to my website www.richardgilewitz.com; at the bottom of my home page they'll find an opportunity to sign up to get on the mailing list. This way, they can obtain updated tour schedules, info and news of product releases. Not to be vague, but earnings from workshops vary widely depending on tour schedules. I never know in advance if I will wind up doing a greater number of concerts or more seminars at a certain time of year. For me, it feels good to maintain a healthy balance between concerts and seminars. If I am doing more of one than the other, I try to re-balance the schedule. I like to teach, but it's also fun to simply let it rip for a night! The net income is usually not zero; I simply couldn't handle a tour like that! I usually have a general concept of the profit an entire tour may net before I even get my plane ticket. I never know exactly what product sales will bring or when I may pick up an extra student or two on the road in my spare time. Oftentimes players who attend a clinic may want to engage me for a private lesson or group lesson before I leave town. Just be prepared, and always be ready to adapt. You never know what type of setting will be presented to you, sound systems, room qualities, etc. Although a contract rider may be initially requested, sometimes a store may not carry what you need. It is always important to know your equipment and be able to adapt. You can also help the dealers prepare by offering them a tip list to encourage them to follow through based on past success stories. In terms of cost cutting, book tight tours (but not too tight); Consider flying in a day early to avoid airport stress, check ahead of time for good hotel rates, and avoid high prices on cars, hotels, fancy restaurants, etc. It's not just a party. Such expenses can really add up, but treat yourself reasonably well, get your rest, exercise, and eat right. Your health is not only crucial to presenting a good show but helps with your frame of mind when dealing with people professionally, not to mention general road safety. I have always felt a responsibility to my sponsors, promoters, music dealers and audiences. If you show them respect, you will get respect and this is one of the many keys to longevity in this industry. Not too many negatives come to mind other than my own critique of my performance in thinking I could have done this or that better. For the most part, workshop experiences are very positive for everyone involved. Workshops are good for the community, store sales, manufacturer exposure, and the sharing of music and education. Sometimes there are hilarious moments. During one of my first clinics I had my eyes closed during my first tune, performed while seated on a swivel stool. At the end of the tune, I couldn't figure out why the applause was coming from behind me. Apparently during the song the stool rotated completely backwards and I played the second half of the tune to the wall behind me! (I still wonder if the audience thought I meant to do that...I didn't). I hope to see you on the road, Jim Goodin
As most of my workshops are limited to my Brooklyn local and surrounding cities, travel expenses come out of my pocket. Sam Ash has been my gracious host in these events since 2001, providing refreshments and a forum to sell my wares. My events with Sam Ash are free to the public as are all of their clinics. I always circulate a mailing list sign-up sheet for future workshops and this has had a tremendously positive effect on turnout at my workshops. I also provide a bio sketch, an overview sheet of what the clinic addresses, and offer a free newsletter with thoughts about my approach to fingerstyle guitar. I teach technique, Celtic style and have begun to focus on DADGAD tuning almost exclusively. As far as music income derived from workshops, I've garnered CD and book sales ranging between 2 and 10 per clinic. In my performance project, Language of 3 http://www.languageof3.com with guitarist Matt Richards, we recently explored the idea of combining a workshop with a concert and it was very successful. We began with the workshop and then did the concert about 30 minutes later. Language of 3 showcases three artists (Matt and I plus a guest) in both solo and ensemble performances, so the workshop was conducted in a similar fashion with each artist taking about 20 minutes to speak on a particular aspect of their technique and music as well as playing examples. This particular show was done for a community arts organization in Philadelphia and the audience was perfect for the workshop/concert approach. We hope to do more such workshop/performances as we continue to book the group. Presenting a concert to literally "pay for the day" while offering a workshop as a free bonus is a splendid approach. In my solo clinics I have tried to establish the same circumstances, but have yet to get a taker. By contrast, the Sam Ash retail store chain always treats my clinics as both a concert and a workshop. They have been very open about it not being just a showcase for the vendor. I've always tried to run these events with this concept in mind and creatively present the sponsors product within the concert format - so it's a performance but always open to questions from the audience as well as my asking them questions to create a comfortable atmosphere. While my workshops have not been a wildly successful financial venture, they have been successful in every other way. I have made valuable contacts and opened doors that have led to either another performance or the opportunity to network with another artist; Occasionally I'm delighted to learn that I've inspired someone as much as Michael Hedges or Will Ackerman inspired me. That's what it's all about, really- the reason why we play the guitar and the music. Jim Goodin Steve Kaufman
In my workshops I teach flatpicking technique as applied to the guitar and mandolin in a number of styles including bluegrass, swing, Irish and Appalachian fiddle tunes, folk, and country. In some instances, a return engagement at the same store for example, I can even offer different levels of instruction to reach a specific clientele. Tuition for my workshops varies from $30-45, or $80-90.00 depending on the duration of the class and other circumstances. For years I was on the road Thursdays through Sundays throughout most of the year. Before each road trip, I would take a fresh Polaroid photo of my young son to help keep me grounded and not be shocked by growth spurts or other changes in his appearance. With the advent of the Kaufman Kamps [flatpick and fingerstyle guitar, mandolin, and banjo], remodeling of the Palace Theater http://www.palacetheater.com/ in my hometown of Maryville, Tennessee as a performance venue, and occasional international travel for extended workshops combined with performances, things are a little less crazy. I absorb all road expenses because I don't want the workshop or concert promoter to have to pay them. Sometimes the promoter will cover the hotel bill and drive me around, for which I'm always grateful. The promoters usually take me out to a dinner but it is not required, only appreciated. I reciprocate by getting the tab for one of their meals. They are doing me a favor by hiring me in the first place. To cut costs, get the word of mouth going early. I ALWAYS circulate a mailing list sign-up sheet for future workshops as about 50% of my income is derived from workshops. I always combine a workshop with a concert. My workshops and concerts are all set up with guarantees so that break-even situations never happen to me (anymore). Pre-registration is sometimes required. In my Internet tour date calendar I advise prospective students, "A deposit holds your spot. Bring a tape recorder, guitar and lots of questions." Most of my workshop tours are set up many months, even years in advance. So get your homework done early. Responses to my workshops are always positive because we are doing a good thing for people by showing them how they can become better musicians. Bye for now, tel: 800-Flatpik Pat Kirtley
I got into the Taylor program in 1996, after winning the National Fingerstyle Championship in 1995. I had recently brought out my first CD, Kentucky Guitar, and when John D'Agostino (then Taylor's manager of public relations, now a company vice-president) listened to the music and we'd had a couple of meetings, we both thought I'd be good fit for the program. It's now my 9th year doing the Taylor clinics, and the program has been gratifying in many ways. In addition to making fabulous guitars, it's refreshing and exciting to see a manufacturer like Taylor so committed to promoting music and to helping their customers become better players. I love being a guitar educator and motivator, but I don't have the opportunity to give lessons to individual students, due to constant travel commitments. The challenge of doing a fast-paced two-hour clinic is to leave each attendee with some useful ideas and motivation to continue improving as a musician. These workshops are also billed as "interactive concerts", so we tend to get guitarists of all skill levels, from absolute beginners to folks who have been playing for many years. Some topics, like learning how to practice effectively and how to become a better musician, apply to everyone in the same way. Topics that cover actual guitar technique focus on a narrower group but hopefully, the beginners are fascinated and motivated by the prospect of someday doing what at first seems all but impossible. I think it's important for new players to see techniques that seem like "magic" live and in the flesh, and to be reassured that it's entirely possible with commitment and practice. Besides the workshops for Taylor, I also teach at seminars and workshops organized as regular yearly events, such as the Accent on Music summer camp in Oregon, Steve Kaufman's camp in Tennessee, and others. A couple of years ago I taught for a week at the Mediterranean Guitar School summer camp in Tuscany, Italy. These workshops are much different than the two-hour afternoon or evening sessions offered in the U.S. mostly because they are a "total immersion" experience, where the participants eat, sleep, and live the guitar for four or more days. The attendees are highly motivated and in many cases, already accomplished musicians taking a further step toward polishing their talents. What makes a workshop successful? Two things are essential. The first is to attract the right audience. To get the right audience, you have to promote the workshop correctly, leaving no doubt as to what will be covered, what skill levels are required, and what is the expected result. When attendees come in with a very clear idea of what to expect, and the instructor clearly explains and demonstrates interesting material, the workshop will be a success. The second aspect of a successful workshop is meeting the needs of the attendees. This means that you must somehow focus on each and every person. In the case of a large format in-store event, where the attendance can be 60 to 200 people, the workshop leader needs to be strong as an entertainer and communicator. In the case of smaller, more intensive groups, the instructor has to take time to focus on each student individually, and be a patient listener as well as a teacher. The topics I cover in my workshops are diverse, and I usually don't cover every topic at every workshop. My number-one idea is development of the right hand for fingerstyle players. To me, that aspect is essential. The other topics I like to cover are: alternate tunings, composition, arranging, chord knowledge, chord construction, expression of melody, musicianship, development of good practice attitudes and techniques, performance anxiety and related issues, Celtic styles, Kentucky thumbpicking styles, and Latin and Brazilian styles. As long as I keep myself excited with all these aspects of playing guitar, I know my students will never be bored. I love the guitar, and I love to see people interested in learning to play it better. In terms of cost effectiveness, suffice to say that no credible musician/educator would perform workshops if the net financial result weren't positive. No one makes a living just doing workshops. The objective is making music, and workshops are an adjunct to all the other sources of income including: performing, composing, arranging, recording, session work, licensing, writing, etc. I've been acquiring names and maintaining my mailing list for a long time, about 14 years now. It is a chore to keep it accurate and updated, but it's been working well. For each upcoming concert and workshop tour, I look at the cities where I'll be and isolate groups of names by zip code. I use a standard off-the-shelf program (Microsoft Works) and manually flag groups of names. Since you can get a results list by entering any search criteria, I use the first three or four digits of the zip code, and then eyeball the list to make sure no one has been left out, and that no obviously wrong cities and towns were erroneously included. Then I print out mailing labels, which is a snap using an inkjet printer and a template I built within the program. All of the names on the list are qualified individuals who sign themselves up at the events in order to receive future mailings. I don't acquire names any other way, and it insures a degree of quality for the list. It is possible to purchase name lists that target exact demographic groups, but I can't imagine one that would be accurate enough to hit the group "acoustic fingerstyle guitarists". A mailing of 200 - 400 names (the average size mailing I do) takes several hours of work to complete. There are mailing services that perform this chore commercially and then print the address info directly on a postcard. I've tried them and, for a mailing the size of mine, there isn't much time saved; you still have to process the list before sending it to the mailing company, so I continue to do it in-house. The actual cost of doing each mailing (postage, paper, labels, copying fees) is around $50. I am in the process of setting up an email version of this process, which has its own idiosyncrasies to deal with. Maybe someday it can all be done by email, and it will be just as effective. Depending on the type of workshop being offered, whether it's free or requires a tuition fee, etc.- the results of a promotion will vary. One fact is certain though- you have to send out 100 promotional pieces to get maybe 10 or 20 warm bodies to show up, so promotion is always a game of numbers and the proportion, not the total of names, is what matters. A positive side effect of the mailings is that even though a particular person might not be able to attend an event, you let them know that you're around and thinking of them; they think of you too (even if for a brief moment) and it reinforces and aids future efforts. At least I like to think so! Pat Kirtley John Standefer
I don't actually 'represent' any manufacturers. That is to say, I'm not a clinician or paid by any companies. I have a number of guitars, but the main ones are the Larrivée, a McGill resonator, and a Gretsch. I do use K&K pickups and Ultrasound amps exclusively. I pay all my own expenses. Most of my gigs are at churches and I don't charge anything to the church. The individual tuition fees paid by the attendees compensate my time. The churches serve as the venues and the promoters, which I very much appreciate. I also perform a free concert at the churches, provided that they'll take a free-will offering. The offerings are nowhere near what I'd make in a standard concert venue, but I get pretty good crowds and sell CDs afterward and such, so it all works out. For me, the workshops are the big deal and concerts are the add-on, so although I do the workshops because I'm motivated to help others and can provide a lot of answers, there has to be a buck in it to make a living. I have a comprehensive promotion procedure, which entails videos, radio announcements, a dozen display boxes full of flyers and various checklists. In my case, the majority of my music income is derived from workshops- maybe 60%, so I have to constantly balance travel and promotional expenses with earnings from workshop tuition. For me to fly anywhere to do anything I incur an average of $1000 in expenses between airfare, other travel/food expenses, the promotional materials, the workbook & CD sets for the workshop, wholesale prices of product, basic operating expenses and income tax, self-employment tax, etc. So no, I couldn't continue to do workshops if they weren't profitable. Other than organizational ideas I can't offer any cost-cutting tips. About 60% of my income goes down the drain before it ever reaches my personal bank account, and even then, being self-employed makes my medical insurance alone as big as some folks' house payment. I haven't had but about 2 out of 2,000 survey sheets come back to me with any really negative comments about my workshops and from my perspective, I love doing them. So I guess it's pretty much a win-win situation. I see so many players struggling with the same issues and always feel good to have shed some light on the situation wherever I go. I hope to see you at one of my workshops! John Standefer |
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