Didnt get the gig...really bummed out...

[MatticusMania]

Originally Posted by agreatheight
Blue, there are musicians out there better than you or I.

No, he lost credibility with me for acusing me of thinking I think I am a better bass player than other TBers.

Youre making assumptions now about what you perceive others to be saying. Cant you take a statement as is? He never said that you think youre better than anyone else...

Its okay though, you've already lost credibility with 95% of this forums population. I'm sure we'll see max capacity by the end of the month.

 

[jive1]

Another thing that hasn't mentioned is the ability to read cues and communicate on stage. This can help greatly for songs you aren't totally familiar with. It can be anything from a pre-performance huddle where you teach the band-members a song on the fly, to using eye contact and nods, to hand signals, etc.. Players who can communicate on stage, and especially mid-performance are valuable, and reduce the stress of performance.

I would hope if I said the following to someone, it would make sense and they can do the tune good enough for drunks.
"We're doing Hungry Heart by Springsteen, key of G. Chords are G, Em, Am, D throughout. Band starts out together, keyboard intro and then the verse. The solo part will follow the same progression but raised to Bb. Watch me for the change. After the solo, we go back to G. Ready? OK. 1 and, 2 and, 3 and, (drums come in), 4 and....."

Back to the OP........
Maybe you might want to take a little time to talk to the bandleader about their stage lingo. Find out who gives cues, and/or what signals they may use for a stop, break down, etc. If they use any lingo, such as name for a groove, clarify it so you don't misunderstand on a performance. For example, "Latin Groove" could mean a rhumba, bossa, etc. Or a hand with 1 finger pointed up could mean key of G, repeat once, return to first verse, or modulate a step. Clarify when possible.

 

[the yeti]

^yep. to some people being able to communicate with the other players is as important as anything. hope it goes well on the 6th.

 

[T-MOST]

Not really. The big gigs pay more, and the regular players are probably wanting a minimum for a gig. The secondary gigs probably pay less, and the regulars won't leave the house for less than $xxx so they get fill-ins for those.

The secondary gig may also be for trying out new material, working in new players, etc. without having to have a formal rehearsal.

Thats still weird. Gigs are not for auditions or trying out new material without rehearsal.

 

[MikeBass]

I would hope if I said the following to someone, it would make sense and they can do the tune good enough for drunks.
"We're doing Hungry Heart by Springsteen, key of G. Chords are G, Em, Am, D throughout. Band starts out together, keyboard intro and then the verse. The solo part will follow the same progression but raised to Bb. Watch me for the change. After the solo, we go back to G. Ready? OK. 1 and, 2 and, 3 and, (drums come in), 4 and....."

If I got that info for most songs, I darn near could play it flawless...
Sometimes that's more than you'll get!

 

[JoshB]

 

[TC2112]

Another thing that hasn't mentioned is the ability to read cues and communicate on stage. This can help greatly for songs you aren't totally familiar with. It can be anything from a pre-performance huddle where you teach the band-members a song on the fly, to using eye contact and nods, to hand signals, etc.. Players who can communicate on stage, and especially mid-performance are valuable, and reduce the stress of performance.

I would hope if I said the following to someone, it would make sense and they can do the tune good enough for drunks.
"We're doing Hungry Heart by Springsteen, key of G. Chords are G, Em, Am, D throughout. Band starts out together, keyboard intro and then the verse. The solo part will follow the same progression but raised to Bb. Watch me for the change. After the solo, we go back to G. Ready? OK. 1 and, 2 and, 3 and, (drums come in), 4 and....."

Back to the OP........
Maybe you might want to take a little time to talk to the bandleader about their stage lingo. Find out who gives cues, and/or what signals they may use for a stop, break down, etc. If they use any lingo, such as name for a groove, clarify it so you don't misunderstand on a performance. For example, "Latin Groove" could mean a rhumba, bossa, etc. Or a hand with 1 finger pointed up could mean key of G, repeat once, return to first verse, or modulate a step. Clarify when possible.

this is is huge -
As i've mentioned before, The band I play with right now has no set list and we have had zero rehearsals, however the drummer is also a horn player and everybody understands the nashville numbering system. They still pull out songs that I have never played before, but we lean in, and I am told stuff like "this is a blues in g, start on the IV and go I-II-V-IV on the turnaround. It makes it pretty easy.

I know people have gotten really worked up on this topic, but good night people, it's rock and roll, not brain surgery. learn your intervals, trust your ears and know your instrument. This really isn't asking too much from people who claim to know how to play

 

[dave_p]

I am a little surprised at how unflexible some folks are. Where I am there are a lot of very very good pickup bands that operate in a similar fashion to the OP's situation. My wedding band was a pickup, and so was my brothers. These guys are heavy hitters that know their tunes and can fall into almost any situation. This is what I aspire to and for me would be the pinnacle of my achievement, to be able to walk into any situation and be competent.

I'm in the process now of getting someones set list down for an audition. Its about 60 songs, I am at @ 20 or so down in @ 3 weeks, thats with a week of being basically too sick to practice anything. If you know what you are doing when you go in, it does not seem unreasonable. challenging, hell yes. The OP accepted and rose to the challenge.

every good gig i got, i got by biting off more than i could chew , and then figuring out how to live up to it. it helps you grow.

also, i have read anecdotes and articles by more than one of the greats that tell stories similar to the OP's. some resulting in disaster. the experiences are part of what molded these guys.

 

[jive1]

Thats still weird. Gigs are not for auditions or trying out new material without rehearsal.

Why is it so wierd? I'd imagine as a Gospel or Jazz musician you have played something unrehearsed at a service or on a gig at least once. Isn't that what improvisation is?

 

[aborgman]

Sorry, but no;

You would make at least a couple of mistakes on refrains, verses or some other parts of the arangements of the 90 songs.

"Gig ready" does not equal "absolutely utterly perfect with never a mistake"

 

[MikeBass]

Yeah, don't sweat it.
I remember seeing a video of Joe Satriani with Nathan East in the studio running over this pretty simple rock groove. (don't recall the drummer, but a high level player like Nathan)
Satriani was making them play the thing over and over and over because it wasn't working.
He ended up getting some other guys, who really maybe monster players, but didn't have the rep that Nathan did, to lay down the track.

And the story of Will Lee getting canned by Billy Cobham and replaced by Lee Sklar- because his tone wasn't happening. (didn't even tell Will, he showed up and Lee was there playing and they were like "Oh, you're fired").

Don't sweat it, everyone has for some reason or the other not got a gig they wanted.

 

[MatticusMania]

"Gig ready" does not equal "absolutely utterly perfect with never a mistake"

Dont bother. As flawless as your statement is, he will make up a point to argue with.

 

[Thor]

'Poke the troll' threads are getting out of hand here.

I guess I will have to invest some time to read every post
in a another thread. AGAIN. If it wasn't civil you should
expect PM's.

I am closing this for review.

If you don't recall the TB rules, reread them now.