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i
Beyond Talent
ii
iii
Beyond Talent
C R E AT I N G A S U C C E S S F U L C A R E E R I N M U S I C
Third Edition
1
iv
1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
by publishing worldwide. Oxford is a registered trade mark of Oxford University
Press in the UK and certain other countries.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or
transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press,
or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction
rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to
the Rights Department, Oxford University Press, at the address above.
9 8 7 6 5 4 3 2 1
Thank you.
Thank you for daring to put your music—your artistry—out into the world. I’m inspired by
your courage. And I’m so grateful to live in a world where people dare to make the art that
makes life worth living.
vi
vi
Contents
Prelude xi
Acknowledgments xv
2. Identify Opportunities 14
Growth versus fixed mindsets 14
Two flavors of opportunities 17
Portfolio careers 18
What you have to offer 18
Diagram your best self 20
Art versus business 24
Entrepreneurship: It’s not a job title, it’s a state of mind 25
3. Get It Done 28
Time blocking 29
Project management: Plan your work and work your plan 32
Backward planning 35
Fear 37
Effective practice 39
vii
vi
viii Contents
4. Connect with Others 41
Real versus fake networking 42
Your networking mindset 43
Map your network 46
Performance invitations 49
How to work a room 52
Contents ix
Booking basics: Start with the people you know 128
Perfect pitch: Five elements 130
Negotiating fees 132
Confirmations and contracts 134
Booking a regional tour 136
Why not create your own series? 136
Legal issues: Performance licensing 137
x Contents
13. Manage Your Money to Fuel Your Artistry 210
Heal your relationship with money 211
Budgets made easier: Betty’s case study 213
Taxes 101 222
Special issues for ensembles 227
Notes 275
Index 281
xi
Prelude
This book is about you: your goals, your future, and the actions you can take
NOW that will transform your music career journey. My intent is to give you the
tools to fulfill your potential as an artist and as a person.
What does it take to create a rewarding and sustainable life in music?
Beyond talent, it takes the courage to dream, the power to plan, and the will to
get things done. But it’s more than your career; it’s about the kind of life you want to
live, the person you want to become, and the impact you want to make in the world.
Creating a rewarding and sustainable life in music involves finding your true pur-
pose and living into it. This book provides the roadmap for your journey.
xi
xi
xii Prelude
Each chapter contains background information, specific how-to directions, and
real-life stories. The examples are real, although, in some cases, I’ve changed the
names and a few of the specifics to safeguard people’s privacy.
With this book you can:
As much as possible, topics are presented in a sequential “first things first” manner.
For instance, creating dynamic promotional materials is covered before tackling
booking performances, because promo materials are needed to do the booking.
So while chapters can certainly be read on their own or out of order, the book is
designed to take you through a linear process. Taking the journey from c hapter 1
to the end should help you develop perspective and a more holistic approach to
advancing your career.
This book is full of examples of musicians solving real issues in their careers. For the
examples that come from my confidential career coaching practice, I’ve changed the
names but left the stories intact. You will also find other examples, not requiring an-
onymity, where musicians’ stories include their actual names.
These musicians work in a range of genres and specialties. They illustrate an array
of common career challenges that musicians face. And their examples offer a broad
choice of creative solutions that you can adapt to your own situation.
I need to get this off my chest: I hate self-help books. Even though I’ve read a gazil-
lion of them and love to learn.
xi
Prelude xiii
The problem is that many self-help books leave me feeling beat up over the way
I manage my time, career, relationships, or health. Others are written as though
changing your habits and thinking is easy to do—but my experience tells me other-
wise. And still other self-help books use inspiring examples that I find intimidating
and leave me thinking the recommended approach is impossible.
So why on earth would I write this book?
Because what I needed didn’t exist. In directing music career and entrepreneur-
ship centers—and in my private coaching work—I needed a resource that would
answer the questions musicians regularly ask. There were books that covered some
of what musicians wanted, but nothing that fit what most of the musicians I worked
with actually needed.
So I wrote the book that I needed. My aim was to provide real life examples that
readers could relate to, along with the step-by-step help they needed to move for-
ward in their careers. My intent was to do this without sugar coating the challenges
involved in changing habits and mindsets.
I wrote the first edition back in 2005, and Beyond Talent proved popular enough
to warrant a new edition in 2010, and now this third edition. It’s been completely
revised and updated, and it includes new ways to overcome the all too common
obstacles involving mindset, self-esteem, and the changing marketplace.
xiv Prelude
choices we make, small and large, each day. But our choices are the essential “stuff ”
of which our journeys, and our lives, are made.
Career coaches advocate making plans, writing down goals, exploring
opportunities, and taking practical steps toward completing projects. I say and write
these things as well, and I believe them. To a degree.
We “pretend” that life will work logically, that action A will lead to outcome
B. But we all know that life almost never works according to plan. And you can’t
count on luck for being in the right at the right time. There’s also our personal lives
and our health—these have huge impacts on careers. And there’s the fact that any
one of our projects can take us away from our original plan, take us off course, and
lead us to a new goal, a new path. That’s what makes life fascinating—you don’t get
to know in advance how things will turn out. It’s all a big gamble.
So, yes, I advise musicians to set goals and make plans, because there are practical
ways to get from point A to point B in your career. But realize that your life—the
good stuff—is all about what you discover on the journey.
Acknowledgments
First, I want to thank my agent Ann Rittenberg and my editor Suzanne Ryan for
their much-appreciated guidance and patience.
And I especially want to thank this constellation of generous readers, contributors,
and advisors for all their encouragement and support with this third edition—and
for talking me off several ledges—here they are in alphabetical splendor:
xv
xvi
xvi
Beyond Talent
xvi
1
1
MA P YO UR F UTURE
In this chapter:
Becoming the hero of your own journey 1
Who’s in charge? 5
Clarify your intent: What is it you want? 5
Project-driven careers 9
Your secret project 10
Beyond Talent. Angela Myles Beeching, Oxford University Press (2020). © Angela Myles Beeching.
DOI: 10.1093/actrade/9780190670580.001.0001
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Pendant qu’à nos pieds fuient à une profondeur inimaginable des
lieues et des lieues de pays, à des centaines de mètres au-dessus
de nous Constantine se profile fièrement à la crête de ses falaises.
Nous sortons du lit du Rummel et regagnons lentement la ville à la
suite d’âniers arabes poussant devant eux leurs bourricots. Sous les
arches ruinées d’un petit village de mégissiers aux terrasses
couvertes de peaux, nous nous arrêtons un moment pour reprendre
haleine. On entend toujours le Rummel gronder et mugir. Une
curiosité nous penche au-dessus des parapets croulants ; nous
dominons justement le gué des Arabes, cinq ou six grosses pierres
rondes et une passerelle de bois jetée à quelques mètres de la
grande cascade, à l’endroit le plus profond. L’écume du torrent
balaie par saccades la fragile passerelle. Trois Biskris noirs comme
des grillons traversent en ce moment le gué, leurs chaussures à la
main, leurs maigres cuisses nues fantasquement apparues sous leur
burnous, retroussé jusqu’au nombril.
A Georges Clairin.
à Maurice Bernhardt.