Thursday, June 23, 2016

Will You Play for My Wedding?

It's a question that most pianists will hear repeatedly throughout their career. I've played for more than my fair share of wedding ceremonies. Family weddings. Weddings of college friends and fraternity brothers. Other friends, acquaintances, as well as random individuals have contracted my services for their special days. Now that I've played so many weddings, I can confidently say I have made some mistakes and learned a few lessons along the way. Here are some of the tips that I wish someone had told me when I first started this summer rite of passage for the pianist.

  • Establish your base rate. Playing for weddings is part of the business of making a living as a pianist. It is important that you know your base rate as well as what services are included. Average rates for pianists vary by location, so begin by doing some research on the average cost of wedding musicians. Once you know the range, determine how busy you want to be and set your rate accordingly. As you set your rate, take into account your level of experience, availability, and professional credentials. At this point, it is also helpful to determine what basic services are included/available for every wedding you play. In my current situation, I don't want to play ceremonies very often, so I have a rate at the higher end of the spectrum that includes processional pieces for the bridal party, a standard recessional march, and the accompaniment of one vocal solo. If other services are needed (e.g. prelude, postlude, transposition), there will be additional charges.
  • Have a list of suggested pieces available for the bride at your first consultation. When you speak with the bride, get a sense of what type of wedding she is looking for. Is she a traditional bride or is she looking for something "different" from the norm? Is there a strong religious component to the service that needs to be reflected in the music? As you define various wedding scenarios, you will be able to suggest appropriate pieces. If the bride has something specific in mind, be able to clearly state if you know the piece and have music in your library or if it's something you will need to obtain and learn. The latter situation will be reflected in your fees.
  • Realize that most brides and wedding coordinators you work with are not musicians. This means that they can't always clearly tell you what they need. It is your job to read between the lines, offer ideas based on your expertise, and make the music work. (The same can be said of many of the "singers" that are asked to perform at the wedding. It's not unusual to find that they are a merely a friend who can carry a tune, but has no formal training.)
  • Speaking of singers, carefully craft your policy on transposition and the use of lead sheets. Do you offer these services at all? How far in advance must transpositions be finalized and unchangeable? These skills are highly specialized and require more time than learning an arrangement from the page. Make sure that your comfort level with these skills are reflected in your rates. (If I'm going to transpose something with just a few days notice...that's fine, but YOU WILL PAY DEARLY!)
  • Determine any exceptions to your established policy. Hopefully, every pianist has friends and family members that they will want to celebrate with as they prepare to marry. Most performers offer their services at a reduced rate or even offer them as their gift to the couple. Work through these exceptions in your own mind -- but don't advertise them to potential couples -- in advance so you can make sure that you are taking care of yourself in all circumstances. My personal policy is that I play for members of my immediate family for free; "immediate family" is based on my definition and no one else's. Additionally, I have made it a practice to offer my services as wedding gifts to a select group of fraternity brothers. I have identified the years included and have made very few exceptions based on personal relationship with men who fall outside of those specific years. Anyone else that falls into an "exception" category -- close family friend, extended family, other fraternity brothers -- are offered a reduced rate. I let them know what the ceremony would normally cost and then inform them of the discount. Sometimes these individuals are insulted that I don't offer to play for free; others insist on paying the full rate. I have found it important for me to remember that while this is a joyous celebration for the couple and that I want to celebrate with them, it is also a business endeavor for me that I have to be compensated for.
Let's end this post with a few HELPFUL TIPS I've learned over the years during wedding rehearsals and ceremonies.
  • Meet vocal soloists 30 minutes prior to the beginning of the rehearsal. If you meet earlier, you will end up doing more playing and the bride inevitably becomes involved. Additionally, wedding rehearsals rarely begin on time, so you will have a little wiggle room. If everyone has learned their part, this should be more than enough time for the rehearsal. In the event that additional rehearsal is absolutely necessary, it is always possible to hang around in the sanctuary for a few minutes after the wedding rehearsal to fix problem areas.
  • Processionals can be the most problematic portion of the rehearsal. Suggest to the coordinator that the party walk through the processional without music first so you can get an idea of how much music will be needed. Truthfully, you are just looking for cues to make transitions to the next piece of music (e.g. last member of the bridal party, movement of the mothers, etc.) and making sure everyone knows where they are going before adding music to the mix.
  • Keep an eye out for sight line problems from the piano. If there is an issue, mention it to the coordinator quietly and together come up with a solution. In most cases, the last groomsman/bridesmaid is able to communicate with you without distracting the audience's focus from the center of the ceremony.