There are millions of independent musicians. You can put one of them, maybe you only wrote the first song, recorded on a computer in the garage or basement. Maybe you've been hit bars, clubs, bars and concerts in your area. You could have also recorded their first full-length CD. Whatever your stage in the process of a name for themselves, there is an important resource for you out there. This resource is the online radio station.

MostOver time, online radio stations that are completely free laptop. For this reason, it is a little push to reach potential fans to listen. These stations are looking for students, just as you are, and therefore should be willing to work with you to achieve your goals, how to get their help. So, what can you do to get your name from the circuit to radio online? There are some steps you can take.

The first step is, of course,Your music. There are a variety of ways to do this, depending on how much money you put in and how to know what remains. If you have had at least a small computer, there are effective ways in which the original computer to record music at home. There are many websites and tutorials for using the Internet can support this process. If you do not have the right equipment, or if you want a very high quality images, but you can find local recording studiosWe want to help for a price.

Once you've recorded your music is ready for burning. This is a post-recording, the music gives you a professional finish and sound. Although their music can be of high quality mastering can play without much to offer. It is not absolutely necessary, but definitely worth a visit.

Find radio stations online is easy with your favorite search engine. Some stations obviouslyhave a preference for the kind of music, or to meet a particular geographic region. You can decide your opinion, what stations do you like the music. Once these stations are instructions on the website of music do follow and wait for a response. If you make the cut, your music is available to the entire Internet community.

Once the music is played on an Internet radio station (or aVariety of Internet radio stations), it is up to you to bring more listeners to the station. This will bring more listeners to it, your music. It 's important not only to promote their music, but. All of independent music, it is worth supporting. Settling in large communities of independent music that allows you to make contacts with other musicians, and to be part of something big. So spread the word about thisStations and other musicians, and also you can help, and exposure to the world of independent music.

As you probably know, there are thousands and thousands of different chords in music – everything from basic major chords to minor 7ths to 13ths to suspensions to poly-chords. Someday, you might want to learn all those chords if you don’t already know them.

But meanwhile, there are 3 chords — just 3 — that you absolutely, positively have to know. If you don’t know these three, there’s hardly a song in the whole world that you could play. But by knowing just 3 chords, you can play hundreds, if not thousands of songs!

Really?

Really.

Are you ready? Here they are:

I IV V

Huh? What’s all that about?

Here’s what:

In every key there are 3 chords — just 3 chords — which are known as primary chords — chords that occur way more than other chords. They are like family members of that particular key. They are groups of notes built on the 1st note of the scale, the 4th note of that scale, and the 5th note of that scale. (Those are 3-note chords called triads — in another article we will get into 4 and 5 note chords.)

For example, here is the C scale on the keyboard. It runs from C up to C and octave higher. The I chord is built on the first note of the C scale, and so on:

So if I build a chord on the I — every other scale note up from C, the chord is C, E, and G — known as the C major chord.

If I build a chord on the IV — every other scale note up from F, the chord is F, A, and C — known as the F major chord.

If I build a chord on the V — every other scale note up from G, the chord is G, B, and D — known as the G major chord.

Please notice, if you haven’t already, that those 3 chords contain ALL the notes in the C scale!

So what?

So any melody – tune – in the key of C (as long as it just uses the 8 notes of the scale) can be harmonized just by playing one of those 3 chords!

Think about that — that’s a HUGE insight that most people never get.

So, in any given key you can play in, there are PRIMARY CHORDS — chords that occur way more than other chords. They are like family members of that particular key.

At your house, let’s say you have 3 people in your family — your spouse, your child, and you. On the same block, but down the street a few houses, lives your cousin and her family.

At any given moment, who are the most likely people to be in your house?

The Terminator?

Hillary?

Dubba?

I don’t think so.

It’s possible, of course, but not too likely. If I had to guess, I would say it would be either you, your spouse, or your child. It might be your cousin down the street — there’s a much better chance of that than, say, David Letterman or Prince Charles — but my best odds would be to guess that the family members would be there.

It’s the same way with chords. In any given key, there are 3 family members that are residents of that key — the I chord, the IV chord, and the V chord. They are far and away the most likely chords to occur in any given key.

For example, if I am playing in the Key of C, and the first chord is the C chord and I have to guess what the next chord is, I would guess that it would be either the F chord or the G chord. Why? Because those are the other family members. So we have narrowed the odds a great deal just by knowing who the members of the family are.

Does that mean that there are always just 3 chords in a song? No, but there are literally hundreds of songs that are made of just 3 chords.

The Primary Piano Chords (the fam) Of All the Major Keys

Here are the primary chords (the family chords) of all the major keys (remember that the primary chords are the I chord, the IV chord, and the V chord based on the scale of that particular key):

Key of C: C, F, G

Key of G: G, C, D

Key of D: D, G, A

Key of A: A, D, E

Key of E: E, A, B

Key of B: B, E, F#

Key of F: F, Bb, C

Key of Bb: Bb, Eb, F

Key of Eb: Eb, Ab, Bb

Key of Ab: Ab, Db, Eb

Key of Db: Db, Gb, Ab

Key of Gb: Gb, Cb, Db

Do you have to know all these chords in all these keys?

No.

You can choose to play in just one key, or just a few keys.

But what you MUST know is the 3 chords in whatever key you want to play in! That means that the stark beginner can learn 3 chords in just a few minutes, and be able to play along with thousands of tunes, because most folk songs, hymns, country songs, and many rock songs just use the 3 basic chords. That’s why people who know zilch about music can pick up a guitar, learn 3 chords, and strum along while singing everything from On Top Of Old Smoky to Amazing Grace to My Country ‘Tis Of Thee to Auld Lang Syne to Silent Night to……………………..well, you get the idea. And not only a guitar, but a piano, keyboard, or whatever.

Duane Shinn is the author of over 500 music books and products such as DVD’s, CD’s, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. He holds an advanced degree from Southern Oregon University and was the founder of Piano University in Southern Oregon.

He can be reached at http://www.chordpiano.com. He is the author of the popular free 101-week e-mail newsletter titled Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions with over 56,000 current subscribers. Those interested may obtain a free subscription by going to http://www.playpiano.com

Ready to start your own band? There are plenty of musicians out there willing to pursue a career in music with you, but how do you choose the right musician? Different musicians contribute different sounds to a band depending on their technical skills, innovations, and music diversity. For example, Metallica would not sound the way they do without James Hetfield, or Dream Theater would definitely not sound the same without the drumming talents of Mike Portnoy.

Here are some tips on how to narrow down your list of potential band members.

1. Determine their level of commitment. You want a musician that is in the same commitment level as the rest of the band. Is the band a full-time thing or are you just jamming on occasions for fun on weekends? Musicians with a high level of commitment are always good but they can discouraged if the rest of the band is lazy and only wants to play at minimal times. Figure out how often the band should get together to play and then find musicians that can commit to that schedule.

2. Technical abilities versus diversity. While technical abilities are important, there should be a good balance between music diversification as well. Anyone can pick up a guitar and shred like Yngwie Malmsteen with proper amount of practice picking the same notes over and over, but not everyone can play with such feel as Jimmi Hendrix.

3. The right musician should enjoy playing the same music style as the rest of the band members.

4. Compatibility with personality. Playing in a band is about having fun and you should be able to get along with all your band members off-stage. Generally speaking, you might get along with people within your age group better, so that might be something to consider when choosing musicians.

5. Open-minded to other music genres. While this may not apply to every band, it might be good to consider if your band ever decides to change its musical direction.

6. Band playing experience. Typically, the more band playing experience the better. There is a difference between self-taught musicians that practice at home by themselves and musicians that learn through others by playing in bands. Musicians with no band experience might have trouble with following songs since they are used to playing at home to album CD’s. In addition, if your band ever plans on performing live gigs, inexperienced musicians might have stage freight.

7. Enthusiasm. Does the musician take the band seriously enough to prioritize it? Does the musician contribute to the band musically? Enthusiasm is shown if the they contribute a lot of ideas into the songs and take some extra to practice at home as well. If the musician is always running late to practices, does not contribute and only plays what they’re told to play, then chances are he/she is not very committed to the band.

Kenny Auyoung: Webmaster @ http://www.getmeaband.com – Looking for a band? Search through our directory of musicians to find band members in your local area.

When Clear Channel controls the radio and the monopoly newspaper doesn’t like you, how do you win over new audiences?

The good news: there are many, many ways. Here are ten of my favorites.

1. Approach a local college or alternative radio station or community access cable TV station with a programming idea, like a live songwriter showcase. Other musicians will want to be a part of your show, and you’ll build an audience for your own music–and theirs.

2. Write CD or concert reviews for a local alternative (or mainstream) paper.

3. Give copies of your CD away to public radio and TV stations for their fund drive premiums.

4. Organize, publicize, and perform at charity events for your favorite causes.

5. Lead songwriting or performing workshops in the schools (these are usually paying gigs, and all the parents hear your name). Invite some of the kids to perform with you; they’re sure to bring a bunch of relatives along who will pay for their tickets and maybe buy a CD.

6. Announce your gigs in every community calendar. Newspapers, magazines, radio stations, community web sites, cable TV stations–they all run event listings. Type out one paragraph that includes a tag line about what you do, such as Sandy Songwriter, River City’s ‘Homegrown Bono,’ will perform labor songs and love ballads at The Trombone Shop, 444 4th Street in Downtown River City, Wednesday, January 15, 7 p.m. If admission is free or there’s a charity connection, say so. Include contact phone number and e-mail.

7. Find Internet discussion groups related to your cause. Whether it’s immigration, voting reform, peace, safe energy, the right to choose…there will be discussion groups online. Post responses and include a sig–a short on-line business card. Use different sigs for different purposes. Here’s one of mine (in a real e-mail, it would be single-spaced):

Shel Horowitz, mailto:shel@frugalfun.com, 800-683-WORD/413-586-2388

I make the world INSIST on learning why YOU’RE special

News releases, brochures, newsletters, ad copy, web copy, resumes, etc.

http://www.frugalmarketing.com * http://www.principledprofits.com

8. Set up a simple low-cost website. Include a couple of sound clips, pictures of you performing, a place for people to sign up for your fan newsletter, a link to your favorite musicians, and, of course, your tour schedule and gig availability.

9. Get exposure on other people’s websites. Write CD reviews, endorse their music with a blurb, submit articles on the local music scene…and always include your contact information and a statement that encourages people to visit your site.

10. Use the letters columns. Call in to talk shows. Post messages to Web forums…in short, use every feedback tool you have to spread the word.

Copywriter, marketing consultant, and speaker Shel Horowitz is the author of six books and publisher of five websites, five webzines and three ezines. His two most recent, Principled Profit: Marketing That Puts People First (http://www.principledprofits.com) and Grassroots Marketing: Getting Noticed in a Noisy World (http://www.frugalmarketing.com) have both won awards. He’s currently engaged in a campaign to get 25,000 people to sign–and spread–the Business Ethics Pledge: http://www.principledprofits.com/25000influencers.html

Improvisation (also known as improvising) is the act of making something up as you go along — an act with which we all have a little experience. Remember playing House or Doctor as a child, letting the game go wherever your mind would take you? That was improvisation. No rules, no boundaries, just the limitless potential of your imagination.

Similarly, musical improvisation is the act of writing (creating it as you play) a song while performing it, a technique found most often in jazz and bluegrass (but can be traced back to renowned classical improvisers like Handel and Bach). Of course, it’s a little more complicated than an imaginative children’s game. Though improvisation is a highly creative and flexible technique, it requires great skill on the part of the musician. A musician involved in an improvisation must have a detailed knowledge of chord structure and complicated scales and modes. The musician must also have an intuitive ability to structure a song on the fly; great improvisation thrives on its ability to sound not improvised but rather wholly composed. That illusion, the ability of a song to seem anything but spontaneously made up, is part of improvisation’s allure.

There are two basic forms of improvisation: structured improvisation and free improvisation. Structured improvisation, though a contradiction in terms, is the most common of the two. In this form, musicians will use a pre-determined series of chord changes, usually held down by the rhythm section, as the song’s base. The lead instrument in the improvisation (sometimes also pre-determined) then have the freedom to create new melodies and harmonies from these pre-determined chords. The flexibility of this improvisation form is dependent on the flexibility of the chord changes, and the musicians involved must be able to play exactly what they hear in their heads, as some complicated changes may not allow for large deviations.

If we were to improvise on a song such as Billy Boy, for example, we would follow the chord progressions of the song, but make up a different melody for it. Some musicians choose to stay fairly close to the melody by using neighboring tones and half-step slides and so on; other musicians feel free to completely abandon the traditional melody and make up a new melody entirely.

In addition to songs, many musicians in the jazz and rhythm & blues tradition improvise endlessly on the 12-bar blues, which has a chord progression using only the I, IV and V chords (also known as the primary chords of a given key) of whatever key the musicians are playing in. For example, if a jazz group was playing in the key of Bb, the improvisations would be based on the I, IV and V chords in the key of Bb: namely Bb, Eb, and F.

Of course musicians also add extra notes to chords such as the 7th — especially in the blues — and sometimes also change the harmony somewhat from time to time. But the recurring theme always reverts to the I – IV – V formula.

Free improvisation, on the other hand, is far more like a game of House or Doctor — it has no rules. Instead of focusing on harmony or melody, free improvisation focuses on the feeling and texture of the music and the way the instruments complement each other. This form tends to be far more experimental and rarely adheres to one style or genre or music — it is, quite simply, what it is.

Duane Shinn is the author of the popular free 101-week online e-mail newsletter titled Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions- Intelligent Piano Lessons For Adults Only! with over 84,400 current subscribers.

In the early and mid-90s, I did quite a bit of promotion work with local musicians. At that time, I was helping musicians who primarily played in coffeehouses get their first CDs played on college/public/community radio stations. We thought that with all the radio DJs out there in that market, we might find some who might be willing to listen to and take a chance on giving some unknown but talented person some airplay.

The scene has changed a lot since then. You now have the explosion of the Internet and streaming MP3 sites in which anyone can upload their music and be heard anywhere at any moment. Yet, some independent artists still do pursue radio airplay as part of their career strategy. In fact, I get unsolicited inquiries fairly often to this day. I thought I would take a look back and share some details on how some artists had some success…a few a bit beyond their expectations.

Most of the artists I assisted were folk/acoustic musicians. The first thing we did was try to identify stations that would be willing to hear them. Through the help of a folk dj e-mail list which posted digests of radio show playlists, we had an idea of what was being played and who was playing it. We then contacted the show hosts or music directors first by e-mail, providing a musical description of the artist and the CD (without flowery hyperbole about how fabulous the CD is), and asking if there would be interest in airplay. If they responded positively, we sent a CD and short bio. We did not just blindly send out CDs to an address just because it was on a list of folk radio stations. We wanted to be sure that money and time (both ours and the DJs) was being spent wisely by going to the people and places that would give the best possibilities for airplay.

After a few weeks, we would check posted airplay lists or send follow up e-mails to see if the CD was being played. On the average, about half of the stations we would send a CD to would report airplay. We had some heartening success stories. Some local artists were getting international interest as well as national airplay. A couple even got reviews in folk magazines such as Sing Out! or Dirty Linen. One musician’s CD ended up on a radio station’s top 40 year end best of list. I also offered additional help to a regional artist who already had a respectable following in her marketing efforts. Eventually we lost count of all the stations that played her CD and she ended up being signed to a folk label.

Lessons here: 1) Do your homework first–it’s worth it. (Unfortunately, people who still send me unsolicited and inappropriate material haven’t learned this one. ) 2) Never say never…unless you at least try, you just never know who might hear you, and where.

Wendy Vickers is a writer, encourager, life coach, and speaker. Wendy offers resources, encouragement and support for musicians at her websites http://wendyv.com and http://embraceencouragement.com

It continues to boggle my mind how many bands don’t take the time to come up with a decent description of their music. It’s extremely important, and when you’re marketing yourself online, it’s essential.

So grab some paper, we’re gonna create two simple band descriptions that will help you earn you web traffic and help you with all aspects of your music promotion. Whether you’re looking to promote your band to someone in an elevator, on the phone or submitting to a directory, these two descriptions will serve you well.

1. The Ten-Word Elevator Description
David Hooper of Kathode Raye music uses the term Elevator Description as a way of describing your music quickly. Your Elevator Description is the words you would use in an elevator if you had to say what type of music you do quickly… in just ten words.

This might seem like the most-difficult part about describing your band, but it’s also the most useful all around. To do it, focus on an intense description combined with a benefit for your audience. I put this quick description in the first sentence on our homepage.

The Original Celtic Renaissance music group from Austin, Texas offering free Celtic mp3 downloads.

Obviously it’s not ten-words exactly. But it gets gets the point across.
Musical style: original Celtic Renaissance music
Location: Austin, Texas
Benefit: free Celtic MP3 downloads

Short sweet and to the point. Obviously, not everyone is as focused on downloading music. Coming up with benefits, but do some brainstorming and you’ll find your niche. Check out these descriptions:

The Rogues
A Houston based Pipe and Drum Band with an attitude.
http://www.therogues.com/

Gilli Moon
Melodic-Kinda-Folkie-Indie with a multi-layered guitar (and all-sorts) wall of sound.
http://www.gillimoon.com/

Mountain Mirrors
Psychedelic Zen Rock. Fans of Led Zeppelin, Pink Floyd or Spiritualized will enjoy this music. Free MP3 Downloads!
http://www.mountainmirrors.com/

Add your elevator description to your Description META Tag. Also add an even shorter description in your title tag, and you’ll boost your traffic for people looking for those keywords.

Stay tuned for Part 2 of Two Easy Steps to Describing Your Band for Greater Web Traffic and More Fans.

If you’re looking for more great web traffic tips for your music, David Nevue wrote the book on it, literally. See how he earned over $4000 per month turning music into a full-time profession. It’s all in this book How to Successfully Promote Your Music the the Internet.

Bard Marc Gunn of the Brobdingnagian Bards has helped 1000′s of musicians make money with their musical groups through the Bards Crier Music Marketing and Promotion Ezine and the Texas Musicians’ Texas Music Biz Tips. Now you can get personal advice by visiting http://www.bardscrier.com for FREE how-to music marketing assistance.

No time to visit the site? Subscribe to the BardsCrier.com distributed weekly for Free. Just email subscribe@bardscrier.com

When it comes to promoting their new music releases, I have found that most musicians only consider radio as the vehicle for exposing their music to the public.

Rarely do they consider publicity, in the form of print media, i.e., music magazines, weekly arts and entertainment publications and newspapers as support tools to help support their radio airplay (another subject I shall address shortly).

But, even rarer, is their consideration of the importance of having videos for their singles. A video of your single, which was once considered an optional luxury, is now a standard, vital and necessary tool if you are going to compete with fellow independent recording artists for media and consumer attention.

And, a video is even more important if you are going to compete with major label artists. In fact, since having a video for your single, particularly, your very first single from a new release, is so vitally important, why would you even release a recording without one in today’s music climate?

To me, that is like a soldier going to war with only a handgun while leaving his automatic weapon behind in his barracks.

But, perhaps, in your mind, you believe that it is still very expensive to produce videos for your singles. Even more, while you are likely an expert on producing music, you probably feel like an amateur when it comes to video production. However, that need not be the case any longer.

So, I am going to show you a no-brainer approach to easily getting a video produced for, at least, your first single from your new release, if not all of your singles.

* Steps to Getting Your Video Singles Produced Cheaply *

1. After you have your mastered soundtrack, and have selected your first single, you should then contact an area college, university or art institute.

2. Tell the school’s administration department that you need to get in touch with its broadcast journalism department.

3. When you reach the broadcast journalism department, ask to speak to an advisor or department head.

4. Tell the advisor or department head that you are an artist interested in getting a music video produced, and that you would like to be put in touch with either a senior student or graduate student who is majoring in broadcast journalism with, perhaps, a concentration on production or direction.

You may also want to stress your preference for a student who has experience with having produced music videos already. Depending on the size of the school, there will likely be several highly qualified student candidates.

In most cases, you will find video producers or directors who will want to work from a script, which includes a story line, for your video single. If that is the case, and you are in need of a script, I would like to direct you to MuBiz.com, which can produce a video script from your single. See the below link:

http://www.mubiz.com/services.html#VideoScripting

You can also see a sample video script that I created for a client at the below link.

http://www.mubiz.com/vdoscript.html

5. As for the low cost of getting broadcast journalism students to produce your video, in quite a few cases, these particular students are already in need of videos for their class projects, and yours just may be the one that will pique their interest. This is a no-cost method, and you will often need to arrange this setup one semester in advance.

In other cases, students may either own their film equipment, or be able to borrow school equipment for production. And, in this case, there may be nominal charges, however, these charges will be very affordable.

The best thing about this particular scenario is that, while you will get the best production knowledge from the student, as well as your video produced with the latest technology, you cannot be charged commercial rates, such as if you used a videographer or related service that officially operated in a commercial status.

But, perhaps, the best thing about this avenue to take for producing your video singles is that, not only will you be able to bring your marketing and artist status up a notch by having a video, you will now also have another product that can be used two-fold:

1. For further promotion of your single

2. Able to sell another product on online music sales sites as well as in retail outlets.

In some cases, you may also wish to offer it as a package deal with your CD. Additionally, why not go a step farther by incorporating it within your CD, placing it on DVD, as well as making it available on video cassette for retailers and consumer?

Note: Depending on the extensiveness of your production, most videos can be produced and edited within two weeks, if not sooner.

Kenny Love is president of http://www.MuBiz.com, a radio promotion and media publicity firm that also provides business and career services to musicians.

The age old beginners question of which type of guitar should I buy to start off with, is best answered by asking yourself which type of music you want to play. Here is a brief lowdown and the points to look out for when choosing a suitable acoustic.

There are two main categories here – acoustic and electric guitars. Acoustic guitars are great for accompanying yourself singing in a singer-songwriter role and also can be used in a band situation for virtuoso style group playing, say in a soloing jazz style. Electric guitars are mainly used in a band or group situation for guitar solos and rhythm work.

The description acoustic guitar covers all types of guitar, designed to play and sound without further or necessary amplification. They come with either steel or nylon strings. Steel stringers sound very much different to their more rounded and mellower cousins. They can be heard on all types of music too, from Pop to Elvis, to swampy old bottle-neck blues licks, to the mighty Travis. Great for banging out moving tunes or dropping it down to subtle finger-style chicken-pickin’. They are versatile to say the least, and the most common amongst bedrooms I would imagine.

Nylon stringed guitars are typically suited to and heard in Classical, Spanish and Flamenco style music. For a wonderful example of nylon-stringed magic check out Paco De Lucia or John Williams. These guitars are also to be heard in many other popular styles, such as Sting’s wonderfully simplistic but effective fret work, in the well known and beautiful song Fragile.

Tip: If you want to play traditional classical or flamenco style guitar, get a good graded teacher ASAP.

An important point to note here is that strings are the lifeblood of any guitar so make sure to invest in a quality brand at all times. Start off with a set of medium gauge (12s or 13s) and see how you get on. The heavier the gauge the more body in the sound. The price? Harder on the fingers to play but you get used to it. A typical medium size acoustic set would contain the following size strings in a set.:

E string .013
B string .017
G string .026
D string .038
A string .048
E string .058

Experiment over time until you find a good set that suits YOUR style. Go with a respected brand-name such as Martin or Fender.

Acoustic guitars can also be amplified on stage and recorded in various ways if desired or necessary. The simplest and most direct way is to mic them up with a microphone or install/stick on a pickup. Acoustic/Electro guitars as their name suggests, are simply acoustic guitars with the ability to plug into a suitable amplifier. This just means that they can be heard over say, a noisy pub racket of cheering…yeaahhh. Normally this feature is used for live gigging. In the recording studio it’s usual to use the studio’s recording facilities to capture a guitars sound to tape. It’s far superior, but feel free to experiment in your own time.

A good tip is that when looking out for an Acoustic Electros, or a Semi-Electric as they are also commonly called, is to make sure that the guitar sounds great un-amplified as well as great when plugged in. If the guitar sounds weak un-amplified, chances are it could sound weak amplified too.

Also watch out that your chosen guitar has a nice playable action. This relates to how high the strings come up off the fretboard. A cheap and badly made guitar has a very high action, and is therefore very hard to play. This is to be avoided like the plague! If you simply lower the action on a cheap guitar it will buzz and fret out (not sound) all over the place. And so onto Electric guitars which we can have a look at next – in the meantime happy strumming.

David O’Toole is a guitar player, music fan, and musician from Ireland. He is the webmaster at the UniGTR? Center and editor at the BellaOnline Musician Site

A keen player and experienced guitar teacher, he is also the author of the popular standard, lefthand, reverse guitar, and piano / keyboard series of Basic Chord Families — Not just another random selection of 1000s of chords, but the key to fast learning and playing 1000s of songs with under 60 chords!

This article may be freely reproduced as is, provided it is keep it intact, and that the above resource box is maintained – thank you.

Well a great performance and an interactive sales crew is just the start to seling more CDs at gigs. The Rogues also employ other salespeople.

Our sellers work off of a commission, with bonuses built in when an individual’s sales total reaches a certain amount. Giving a salesperson a commission motivates them to sell more product than just giving them a flat rate. We do have minimum pay for a day’s work when the sales are not good. In that case the band usually pays $50 day, or a 10% commission of the sales total, whichever is greater.

At the more modern venues, such as highland games and celtic festivals, we have found that having a sales table is an extremely successful way to increase sales, especially in combination with a roaming salesperson (when using both are appropriate). At pub gigs, we only have a sales table. Having someone roam in a tight space like a pub would be seen as too aggressive or invasive, which the Rogues do not encourage their salespeople to be. Friendly competition between two or more sellers is fine as long as there is a feeling of team spirit. Our sellers help each other out when one needs change or more stock.

The larger the crowds, the more sales people are needed. The sheer size of the crowd has a tremendous impact on sales. When you get that many people standing or sitting that close together and they are all excited about the music, it is like a ripple effect–once the sales start flowing, everyone seems to jump on the buying bandwagon.

At one particular show at the Maryland Renaissance Festival, where the crowd was huge, our three sellers were not able to maximize the full sales potential. A good indication of my not being able to tap the sales potential that is when I am standing in one spot and have not moved out of it the entire show. Just as soon as I finish one sell, another person comes up to buy a CD. I call that standing in a sweet spot–when people come up to you already wanting to buy a CD. My job then is to try to figure out, as quickly as possible, what CD or CDs would best suit what they are looking for. I always try to point out the fact that they can order more CDs through the website or mail order, or listen to the music on MP3.com.

As a bandmember’s wife, I am always trying to promote the band. I take business cards from people who want to hire the band for potential gigs and I direct them to my husband, Randy, who is the business manager for the band.

1. Reward sales people with commission
2. Set up sales table for venues
3. Encourage friendly sales competition
4. More people to sell for larger crowds, enjoy ‘ripple effect’
5. Take business cards to gigs and hand out at every opportunity.

The Rogues use CDBaby to sell their CDs. Why? See for yourself?

Bard Marc Gunn of the Brobdingnagian Bards has helped 1000′s of musicians make money with their musical groups through the Bards Crier Music Marketing and Promotion Ezine and the Texas Musicians’ Texas Music Biz Tips. Now you can get personal advice by visiting http://www.bardscrier.com for FREE how-to music marketing assistance.

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