What it's REALLY like to be a Professional Musician

[@carolandcindyjamroz433]

I started playing clarinet in middle school and then by high school, I had migrated to bassoon. While looking at possible careers, I considered going into music but even back then, it looked like opportunities were minimal and the pay was not that good for the amount of work you needed to put into it. I was lucky to have private lessons and I played with some municipal symphonies in the downriver suburbs of Detroit but I lacked the discipline to improve my skills and decided to pursue a career that provided a steady, healthy, income and I became a mechanical engineer. Almost as soon as I graduated high school in 1976, I worked full time and went to school part time to attain my BSME. Since most of my time was spent in school, work, eating, or occasionally sleeping, my bassoon (an ancient wood Linton) sat in the closet. I retired at 55 and moved to the Pacific NW and treated myself to a new Fox 220. It was so much easier to play than my Linton, which I later learned had been through some poorly done repairs. There is an excellent college music program close to where I live now that allows me to play not only my bassoon but clarinets and saxophones in both the symphony and concert bands along with pit duties for musicals. I am still at an amateur level but I don’t have the pressure of being able to perform at a professional level. Also, after a little over five years of getting back into playing and with a much better instrument, I am playing better than I ever did and it is for fun instead of for money. My only regret is that I did not pull out my bassoon and at least fumble along a bit to keep my chops up over all those decades.

[@dominichayes5758]

Great insight into your career! Appreciate the honesty, this side of the business needs to be talked about more.

[@quimiorlando]

Nathalie, the fact that you are doing what you love is what matters. I came back to the bassoon a year ago and I'm loving it. I play saxophone and I have played since the age of 9. After this age I also learned the bassoon and after some years I continued only with the saxophone. I find both instruments to share many similarities. And your videos are one of the reasons I came to the bassoon and have been able to improve in this recent short time.

[@WastingTime8340]

I regret NOT becoming a professional musician. Both of my parents were classical musicians and private teachers, so I knew about the hardships of the profession. I went into a STEM major and am working in a field that provides for my family quite well. Do I enjoy my profession? I tolerate it. My joy is coming home to play bassoon. I am only a few years from retirement and I want to return to university and finally get a music degree.

[@BuildingaBassoonist]

Interesting to hear this side of the story!

[@sazzy6264]

You are honest. As painful as it is to hear for some musicians, it is necessary. Had I heard this fifteen years ago, I would have brushed it off, because "I'm 18, and i got this! I'm gonna play for CSO!" My best advice to young musicians is--LISTEN to this lady. She's got very good advice and experience. And to the older students...good on you! Stay musical!

[@DwainRichardson]

(/2) On the professional front, symphony orchestras across Canada are fortunate to have double reed players. Even youth orchestras, such as the National Youth Orchestra of Canada and the Toronto Symphony Youth Orchestra, have a few double reed players among the musicians. In short, double reed players are around; you simply need to find them. Where to find them is another story. Do enough students pick up a double reed instrument? Do schools have said instruments? In closing, like Dr. Law, I would like to teach bassoon, voice, or music theory (how about all three?) in some schools in the Greater Montreal area this fall to round out finances. In Quebec, there’s a dire need of music teachers in schools, especially since they’re in demand but they’re few and far between. Some schools don’t have music programs (or art programs, period) at all. I think I could be a great asset to the schools’ music community. Being your own boss - that’s been my life for the past decade. I have no regrets (well, maybe a few). Doesn’t look like that’ll change anytime soon. (-:

[@PoseidonRM]

This was a good video, thanks for giving an honest picture of what a professional musicians life can look like. In high school, my dream was to be principal bassoon in a major Orchestra. What *actually* happened was a life where I have over a dozen w2/1099's at tax time. It's good for people to know that there are very many ways for a successful and fulfilling career in music to look and it often involves diversifying.

[@BuildingaBassoonist]

Well said!

[@katief4634]

Thanks

[@DwainRichardson]

Quite the video, I must say. Lots of information to absorb - which is useful for anyone desiring to pursue a music career. Like Dr. Law, I am a freelance professional. I pursued a music degree like Dr. Law. It was initially hoped that I would pursue a full-time music career. But I had to be realistic. At some point I realized this career wasn’t for me because I got too frustrated with the audition process at the masters level. And what would job stability look like (especially after three years of COVID-19)? With all that in mind, I pursued other professional paths but kept music in the periphery. These days, I divide my time between editing and translation, singing and bassooning. I’ve been bassooning for the past three years; as one would imagine, the bassoon became my hobby while the world stood still because of COVID-19. I am far from a full-fledged professional bassoon player. I am, however, considering professional gigs whenever they arise. Meanwhile, I play for some amateur ensembles, most of which are based in Canada (specifically the Greater Montreal area). In the video, Dr. Law talked about need vs demand. According to many full-time professionals in the Greater Montreal area, demand for bassoon players - even oboe players - is high. Unfortunately for Quebec, double reed players are few and far between, especially in amateur bands. Consequently, many bands have no double reed players at all, even if conductors would consider these players a great asset. Fortunately, amateur symphony orchestras are better off when it comes to double reed players. Depending on the orchestra, it’s possible to have one oboe player and at least two bassoon players. (1/)

[@NatiaMae]

If I may ask this - have you made $ from KZbin?

[@BuildingaBassoonist]

I’m not currently monetized on YT but will be soon 🙂