aftermath of the 'No, not the steel guitar' audition

[Mike Perlowin]

Well, I didn’t get the gig. The guy told me he found the sound of the steel guitar “offensive.” He also said that nobody would ever hire me, I would never get any gigs playing with any orchestra, and that I am wasting my tine trying to play classical music, and I should give it up and go back to playing country.

But I went into this with 3 goals. The first was to change the guy’s mind, which I failed to do. The second was that I hoped to learn something, and I did. Perhaps the most important thing I learned is that since I cannot intonate correctly if I take my eyes off me bar hand, I can’t look at the conductor, and therefore I can’t follow him (or her.) It is necessary for any conductor I work with to take his or her cues from me. Clearly most of these people are going to have a problem with that, hopefully some won’t. But it must be discussed beforehand so the conductor will understand and know what to expect.

The other thing I learned is that even though I have my parts memorized, I still need to bring a music stand (I have one of Tom Bradshaw’s “Tab Racks” that clip on the front legs of our steels) and the sheet music of my own part. The reason being that if/when the conductor says “Let’s take it from measure 98,” I will be able to see just where that is. In fact, that happened last night, and I did not know where measure 98 was. I had to wait for a measure or two to know where to come in and what to play.

The third thing I learned was that orchestras can get pretty loud, and with my amps behind me, I thought I was too loud, but the conductor asked me to turn up. I am going to have to do a fair amount of experimenting to gauge the proper volume for this kind of playing.

My third goal was to meet other musicians, and 2 of them asked me for my card, and one of them plays with a different orchestra and said she would talk to the conductor about having me come in and audition with them. I don’t know if that will happen or not.

But what I do know is that this type of playing is a lot different from playing in a small group. And even my experience with my chamber music trio has not prepared me for it. As the saying goes, I’m not ready for prime time.

My next step is to talk to the teachers at the local community college about enrolling in a class, so I can gain the necessary knowledge and experience to be able to do this.

I’m not giving up. This was just a first baby step. I’m going to keep doing this as long as I’m able.

[Steve Alcott]

Good for you, Mike. Some would curl up into a ball and never leave the house again after an experience like that. Your idea about studying is a good one.

[Frank Freniere]

Bravo, Mike!

[Andy Sandoval]

Did you at least flatten a tire on his car? Just kiddin, hang in there Mike, you have a good attitude about this whole event and I know perseverance will pay off in the end.

[Bent Romnes]

Mike, bravo for trying, and kudos to you for all that you are doing to promote the pedal steel guitar in all types of music!

What I find offensive, and others should naturally agree with this, is that a professional musician like a conductor or an arranger of a huge orchestra, can lower himself to utter such terrible words as "I hate the pedal steel" and "I find steel music offensive".

The little hurdle of a conductor meeting you on your terms as far as signals etc, is just a small thing to overcome, and just shows their lack of professionalism when they refuse to try new things.

Keep up your fine work Mike.
In this case: Mike =1
Conductor=0

[John Seitz]

Wow -- what a story. My son played bass for several years with the NJ Youth Symphony and it was an incredible learning experience. Even at the youth level the "cutting" can be cruel. He had to learn all kinds of things like the proper way to tape his music together so he could get to any part quickly. Your attitude is amazing. Nice job.

[Jim Cohen]

A disappointment, to be sure, but not a surprise. Yes, conductors insist on being watched closely. The only way they might watch YOU instead, is if you're the featured soloist. (But, of course, with this guy, that ain't about to happen during his lifetime.) I feel your pain, Mike, but sounds like you learned a bundle from the experience and I too applaud you for your persistent efforts.

I tend to believe that better headway would be made by getting classical people to listen to a good studio recording of classical steel. That way, there is no quirky intonation, no issues of who's watching whom, and the performance is guaranteed to be your very best. If they don't like that, they'll never like it in an audition setting with all the extraneous variables thrown in. Yah?

[Jake Hoffman]

I applaud you. Hang in there. Remember, the value or merit of an idea is directly proportional to the amount of resistance it meets.

[Mike Perlowin]

I tend to believe that better headway would be made by getting classical people to listen to a good studio recording of classical steel. That way, there is no quirky intonation, no issues of who's watching whom, and the performance is guaranteed to be your very best. If they don't like that, they'll never like it in an audition setting with all the extraneous variables thrown in. Yah?

There are orchestras on Europe that will record all my background parts for about $2,000, and I can overdub my parts later. At the moment I don't have the money, but I might make a CD this way at some future point.

But right now my next move is going to be to talk to the teachers at all the local colleges, and see where that leads.

[Jim Cohen]

There are orchestras on Europe that will record all my background parts for about $2,000, and I can overdub my parts later. At the moment I don't have the money, but I might make a CD this way at some future point.

Mike, there are also classical backing tracks available online for a small fee. Classical singers often use them.

[Richard Sinkler]

Sorry about the gig and the treatment you got. But at least you got a whole lot of free education to help you with the next time (and I'm sure you will try again and succeed at some point).

Well, I didn’t get the gig. The guy told me he found the sound of the steel guitar “offensive.” He also said that nobody would ever hire me, I would never get any gigs playing with any orchestra, and that I am wasting my tine trying to play classical music, and I should give it up and go back to playing country.

Now, that is what I really find offensive. I just don't understand the narrow mindedness of some musicians that lock out certain instruments or styles of music. It's OK not to like something, but at least give it a try first.

[John Richmond]

Mike, I agree with Andy's post. Your time is coming, brother, I'm rooting for you. Maybe you'll have to assemble your own orchestra. Regards, John Richmond

[Storm Rosson]

Bravo!! Mike, it is 100% his loss ...I have only the utmost respect for your playing and endeavors...rock on Mike.....Stormy

[Twayn Williams]

Well, I didn’t get the gig. The guy told me he found the sound of the steel guitar “offensive.” He also said that nobody would ever hire me, I would never get any gigs playing with any orchestra, and that I am wasting my tine trying to play classical music, and I should give it up and go back to playing country.

Wow, that's a bit harsh. Of course, if you didn't already know, conductors (like theatrical directors) are raging egomaniacs and frequently total pricks. It sorta comes with the territory Still, that seems kinda excessive...

Perhaps the most important thing I learned is that since I cannot intonate correctly if I take my eyes off me bar hand, I can’t look at the conductor, and therefore I can’t follow him (or her.) It is necessary for any conductor I work with to take his or her cues from me. Clearly most of these people are going to have a problem with that, hopefully some won’t. But it must be discussed beforehand so the conductor will understand and know what to expect.

Actually, you should be able to learn to watch your hands, scan your sheet music AND watch the conductor simultaneously. With a steel guitar it'll be a bit more difficult but not impossible. One of the tricks is to "relax" your focus so that you are actually seeing the entire picture and can "mentally" shift between the 3 parts but not actually shift your eyes much. This way when the conductor cues you, you can see it even if your current mental focus is on one of the other parts. It's very similar to sight-reading where your eyes are a measure ahead of where your hands are. Your eyes would be pointed a bit above your hands with the conductor inside of your peripheral vision towards the top. This sort of skill can be difficult to acquire and needs a lot of practice (sorta like learning to play a steel guitar in tune )

The other thing I learned is that even though I have my parts memorized,

I gotta tell ya, that's pretty impressive. Orchestral parts tend to be long and not repeat so you can't use as many "pattern" tricks to remember the parts. Hat off to you sir!

The third thing I learned was that orchestras can get pretty loud, and with my amps behind me, I thought I was too loud, but the conductor asked me to turn up. I am going to have to do a fair amount of experimenting to gauge the proper volume for this kind of playing.

Yes, not as loud as a rock or modern country band, but louder than a chamber ensemble.

But what I do know is that this type of playing is a lot different from playing in a small group. And even my experience with my chamber music trio has not prepared me for it. As the saying goes, I’m not ready for prime time.

A really great place to gain larger ensemble experience is in pit orchestras for Broadway-style shows. Of course, those can be about as easy to break into as the full orchestras are, but if you can manage it the experience can really be worth its weight.

I’m not giving up. This was just a first baby step. I’m going to keep doing this as long as I’m able.

Go daddy go!!!

[Larry Johnson]

Hi Mike,your post brings 2 thoughts to mind;
1. How did the steel player on the Lawrence Welk show
watch the conductor?
2. I went to a church to play steel. I was told by the pastor I couldn't bring my steel in his church. He said to come back sometime when they had music outside.
Mike ,keep up the good work playing, dust off your heels and go to the next audition. Larry Johnson

[Lee Baucum]

I couldn't bring my steel in his church

His church!!!

[Michael Robertson]

"I’m not giving up. This was just a first baby step. I’m going to keep doing this as long as I’m able."

Ata boy Michael, I'm proud of you.

[Tony Prior]

the thing about it, to me, is not about the Orchestral side of things, watching the conductor etc...that's a given,a requirement if you will.

The conductor dude, if he was any kind of a professional person would have recognized the SIGHT issues and left it at that, stated that at this time he sees it as a severe detriment. Instead he decided to go the next mile and diss you and the Instrument, telling you to basically go back to the trailer park where you belong...

Mike, the man has issues and he will never rise to the level of professionalism that you are at. He is a low life who attempted to take you down personally and for that he is worthy of zero respect.

t

[Mike Perlowin]

Newsflash!

One of the musicians I met last night just sent me an E-mail inviting me to come to another orchestra she plays with and meet the conductor and possibly play with them.

This time I'll bring the music stand and my parts, and also discuss the problem of being unable to see him, prior to bringing in my steel and auditioning.

[b0b]

You should "go back to playing country"? That's quite an assumption on his part, isn't it? Is he aware that you have 3 classical CDs out? I've never heard you play country at all!

It makes my blood boil.

[Ray Minich]

Never stop learning Mike. Never stop learning.

Bravo Bravo on your tenacity and effort. Breaking down old paradigms is a bitc.....

[Mike Perlowin]

Guys, the conductor's attitude is both infuriating and depressing, (and I have to admit, I was depressed this morning.) But I had 3 goals, and I accomplished 2 of them. I learned some important lessons, AND I made a connection to another orchestra. I will be attending a rehearsal tomorrow evening and will meet the conductor and discuss auditioning with him, and at the same time, I will discuss the all important issue of my not being able to see him, and how best to deal with it.

This turned out to be a good thing, despite the conductor's bad attitude.

[Mike Perlowin]

I've never heard you play country at all!

b0b, you are not missing much, but you'll have an opportunity in 6 weeks.

Please come to our jam in April. We'd love to have you. Maybe some of you No Cal guys can car pool. Or if you want to come and not play, perhaps you could fly down.

BTW, That invitation is for everybody. Just let me know if you want to play.

[Mark Durante]

Twayn is correct. The players of the violin family for instance have to be looking at the conductor and their music similtaneously, and they have no frets either. They are watching the conductor most of the time in their peripheral vision, but the conductor will expect you to acknowledge him at certain points eye to eye so he can be sure you are paying attention. You don't have to be looking right at him all the time though.
What you are doing is ground breaking, extremely challenging and that conductor is probably just afraid you'll STEEL all his glory. (sorry I couldn't resist)

[Archie Nicol]

Baton Rouge? You should have told to make his baton brun!

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