The Most Viable Instrumentation

The combination of instruments that make up an ensemble influences everything from timbral palette to literature available.  But from a business point of view, which instrumentations possess the highest potential of appealing to presenters and audiences?  Is it more viable to stick with standard combinations, or go out on a limb with a novel configuration?

A handful of standard instrumentations (i.e. solo piano, string quartet, jazz trio, orchestra) have a proven and established following.  Whether because of nostalgia or familiarity, some people simply love those formations. Similarly, presenters often reserve a number of slots specifically for these acts.  But the more typical an ensemble, the more direct competition exists. Differentiating work can be tough when vying for attention in an oversaturated marketplace.

Less common or unusual instrumentations have an easier time standing out.  But because they’re less familiar, audiences may not pay attention.  Some music fans are even scared away.  Sure, an oboe-bassoon quartet may be fascinating to other double reeders, but probably few others.  Even something as standard as a brass quintet can be a hard sell. 

So which groups are most viable? Answer:  Look beyond instrumentation.

Unless the demand for your traditional ensemble far outpaces supply (highly unlikely), or your wild configuration is fascinating and newsworthy in itself (like the bass saxophone quartet Deep Schrott), don’t build a marketing plan around your instrument(s) alone. Much of the time, you may even want to de-emphasize this element.  Focus instead on the unique talents of players, unusual programming, and other creative aspects of the show.  Sell your story.  Sell your message. Sell your theme.  Sell your charm. 

There are countless string quartets that struggle to get noticed, and I know a euphonium player who has way more offers than he can accept.  Violinists are not the only performers who can thrive as soloists—bad news for fiddlers, glorious news for everyone else.  Build a brand so compelling and engaging that instrumentation will be but a minor consideration for employers and fans alike.

5 Responses to “The Most Viable Instrumentation”

1. John Manning says:

   January 23, 2010 at 10:15 pm

   Thank you for this post. As a tuba player, I was struck by two things:

   1. You know a euphonium player that has way more offers than he can accept – that’s FANTASTIC to hear, especially for my students! In some ways, us low brass players have a slight advantage due to the unique nature of our instruments.

   2. I agree – it is certainly challenging to sell a brass quintet. Either we fight the stigma of “that’s not chamber music” or “could you ham it up, like other brass quintets we’ve heard of?” My colleagues in the Meridian Brass Ensemble are a great example of your point. Adventurous programming, promoting new music and eschewing schlock, and the intentionally chose a name without “brass quintet” in the title.

   I think you offer great advice. Us musicians are frequently not to savvy at promotion or marketing, thanks for your guidance. You have a new fan.
2. Rolf Erdahl says:

   February 19, 2010 at 11:00 am

   I’m the bassist half of an oboe/bass duo, The Vecchione/Erdahl Duo, with my wife, Carrie Vecchione, oboe/English horn. We appreciate very much your advice to “look beyond instrumentation.” It sounds like you wrote the book we could have used on embarking on our duo career!

   Sometimes novelty can be a selling point. We’re also convinced oboe/bass duo is an appealing and effective, if overlooked, combination. Once we perform, we get warm audience responses and good word of mouth. Getting that chance to perform remains our biggest challenge. It’s often hard to get a foot in the door for presenters who want something more familiar and “safe,” that they think would be easier to sell.

   We’ve built our own repertoire of original works, and focus marketing efforts on the appeal of the repertoire and the journey of bringing it about. Our motto, “music that grabs your ear as the ink dries, and sends you out the door humming a new tune,” neither trumpets nor hides our instrumentation, but focuses on the music.

   Unique instrumentation has educational advantages. We also brand ourselves as “Pages of Music with Rolf and Carrie” for school presentations. The exotic sound and novelty of the oboe (”Is that a clarinet?”), and the contrasting size and depth of the bass (”That’s Ginormous!”) grabs kids interest visually and aurally from the outset, and sticks in teachers minds as something different that works.

   Thanks for this posting! It gives us something to think about as performers. Hopefully it also opens presenters’ minds to the value of material and the message of the performers, above and beyond judging what the book looks like on the cover.
3. john manning says:

   March 31, 2010 at 10:00 am

   [...] Brown. LittlePo. Maple Kiwi. Mark Alvarez. Mark Bagley. Mark Richards. Martin Banfield. Martin …The Most Viable Instrumentation | the savvy musican blog …John Manning says: January 23, 2010 at 10:15 pm. Thank you for this post. As a tuba player, I was [...]
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