In addition to the supply and demand factor, there is the matter of each student’s quotient of musical talent and ability. Some students, because of lack of aptitude, desire or insufficient music background, probably should not become music majors at all. This might, however, diminish the size of the music department enrollment, lessen the number of teachers and lower the budget of the music department. Therefore, little or nothing is usually said and the prospective music student is none the wiser.
After the Second World War (1945), the population in the United States rapidly increased and for the next twenty-five years there was a demand for more schools and more teachers, including music teachers. Until approximately 1970 this enabled many music majors to go into music education and still have some contact with their chosen field of endeavor. Some university and college music departments have devoted themselves exclusively to music education, that is, the education of music teachers.
The population growth has diminished during the last several years, and the demand for music teachers has lessened considerably. Surprisingly, the music departments in most colleges and universities are still expanding. If a music major could major in music for four or five years, “do your own thing”, obtain a music degree if desired, and then continue in school in order to prepare for a more realistic occupation, all would be well indeed. Unfortunately, after four or five years of higher learning, many individuals are faced with having to provide for themselves. This rather important concern often gets in the way of continuing one’s education.
The small percentage of people who manage to obtain musical employment and those who find employment in music education are fortunately exempt from this problem. Some prospective professional trumpet players will undoubtedly find it difficult to accept the reality of not playing professionally, but facing the facts of a given situation is part of the maturing process.
Since trumpet playing is my specialty, here are some statistics future professional trumpet players might take into consideration:
1. In the United States, there are twenty-six symphony orchestras in which a trumpet player can make a yearly income of $10,000 or more. Most of these orchestras employ four trumpet players on a full-time basis, but some employ only three trumpets full time. This information tells us that there are in the vicinity of ninety symphonic-type trumpet players making a full-time income in the United States today.
The other symphony orchestras (under $10,000 annually) can only be considered part-time employment. The annual turnover rate for the full-time jobs optimistically averages three to seven positions. The number of vacancies will vary from year to year. Some symphony orchestras have not had a vacancy for six to ten years. When a trumpet vacancy does arise there might be over two hundred applicants. Some of these applicants are highly qualified and some are not, but the number of annual vacancies speaks for itself.
2. Full-time employment playing in “name” jazz or dance bands is almost a thing of the past. The tired phrase “the big bands are coming back”, unfortunately, is only wishful thinking on the part of enthusiastic musicians. The “name” bands only work sporadically but provide tremendous training and experience for young “lead” and jazz-type players.
3. Commercial and casual dance bands do work in larger metropolitan areas. Many are part-time jobs and not too satisfying musically. Some trumpet players do well financially in this field, however.
4. There are some “show” type bands that provide full employment. Las Vegas, Nevada is a good example. These bands play for singers, comedians and “show biz” people in general. Playing in these bands can be rewarding and often varies musically to make the job more interesting.
The “show bands” that play the “line” shows (Follies, burlesque, ice shows, etc.) are usually extremely difficult on the endurance and range aspects of trumpet performance. This results in a very rapid rate of turnover, especially for the “lead” or first players. Playing some of the “line shows” is like playing in a circus band, except the music is written an octave higher.
5. Broadway musical-type “show” bands exist in many large cities but on a part-time basis. These bands and orchestras do permit some full employment in New York City and provide adequate incomes in such cities as Chicago, Los Angeles, Miami and a few others.
6. There has been a recent rebirth in the popularity of the jazz-orientated small groups. Playing good jazz is essential and sustaining full employment might be very difficult. A few jazz players are very successful, especially if they make record albums, stay comparatively straight and have an honest agent.
7. Concert bands are now usually considered recreation for former or part-time musicians. Some concert bands play on weekends, especially during the summer months. This type of playing can be a rewarding experience for trumpeters.
8. Studio trumpet playing consists of performing varied types of music and requires an all-round, flexible approach to playing. Many trumpet players want to do this work because of the music, glamour and high financial rewards. Most players who do studio work have acquired a reputation doing other types of playing before making the studio “scene”.
It involves work making records, motion pictures, television (live and taped) and television commercials. Studio work is primarily restricted to New York, Los Angeles (Hollywood), Nashville and to a much lesser degree Chicago, Dallas and a few other cities. Full-time studio trumpet players are few in number, but there are numerous players who do occasional studio playing and augment their employment by playing casuals, shows, dances or whatever work is available.
9. Trumpet soloists are in little demand at the present time. Some players perform solos occasionally but not on an exclusive basis. Some trumpeters give recitals, mostly on university and college campuses, but reception to these recitals is usually restricted to music department faculty and students. If a trumpet player has the soloistic talent of Maurice André or Doc Severinsen, by all means give it a try. The day of the cornet soloist is over, but who knows what is in store for the future.
10. Some “rock” and “jazz rock” bands use trumpets as part of their instrumentation. Some rock groups require the trumpet players to play other instruments and/or sing vocals. Occasionally a rock group is successful, but many are marginal, except for endless rehearsals. If the rock band is amplified (it will be), be certain the trumpets are amplified before you blow your lip and brains out trying to compete in volume with the other amplified instruments. If a rock group records and sells, you have got it made. Try to stay clean and don’t let success go to your head.
11. The Los Angeles, California Musicians Union (Local #47) has over fifteen hundred trumpet-playing members out of a total membership of over fifteen thousand persons. (The requirements are such that almost anyone can become a member.) Out of fifteen hundred trumpet players, approximately one hundred twenty-five might be considered full-time trumpet players, with fifty or so doing very well financially.
12. Financial security for trumpet players seems to be best in symphony orchestras. Most symphonies have yearly contracts, but other jobs are paid by the session, job or on a weekly basis. In Western Europe, except for England, job security provisions are much superior to the United States in certain types of musical employment (symphonies, radio orchestras, etc.).
Despite some negative aspects mentioned in this article, it is ultimately meant to be positive in its content. The article’s intent is to give a realistic and pragmatic approach to professional trumpet playing, a viewpoint that is not often taken by music teachers in our institutions of higher learning. A non-realistic approach to professional trumpet playing is actually very negativistic and often has a detrimental effect on the prospective professional player.
For most trumpet players who for one reason or another are not going to become professionals, playing can be a richly rewarding experience, socially, culturally and musically. On occasion it might even be a hell of a lot of fun. With trumpet and brass publications, clinics, guilds and clubs spreading almost instant communication throughout the world, perhaps we might help inform our trumpet-playing colleagues, professionals, teachers, amateurs and students to “tell it the way it is”, and not just the way some individuals would like it to be.