TimR

Good luck. Whatever happens you'll have fun.

No doubt if you're on a tour with an established band. Learning the horn parts would be simple. Handed them at the gig might be a bit different.

I suspect a lot of what the brass play in originals bands has been arranged by someone else. I can't see them all sitting round and working out parts.

I was going to ask if they both only play from the dots. If the pianist can play from charts it'll make it a lot more fun as that would leave the cello the tune, you some basic riffs while the pianist gets stuck into some chord work and provides the rhythm. Quick and simple formula for playing practically any tune from the 1001 tunes for buskers books. Never know you could form a band. Record it though. It would be good to laugh at in a few years time when they're accomplished musicians.

Classic album. It was in the charts in 1985 for what felt like forever. Wikipedia has it in the top 40 for the whole year! Practically every track was released as a single. I would say everyone aged between 42 and 50 probably has it on vinyl. Or did. Floppy hair, big collared wooly jumpers tucked into peg trousers with a soul belt. .

[quote name='spectoremg' timestamp='1419096680' post='2636560'] ... we found by asking afterwards were in fact 'album' tracks. Heinous. [/quote] Technically that is exactly what the "Classic Rock" genre of music is. A guy at work had this on today. http://www.thearrow.co.uk They played a lot of numbers our band plays that I've never heard on the radio. Would be a great rescource for picking more of the less played tunes.

[quote name='xilddx' timestamp='1419077059' post='2636258'] ... Otherwise you run the risk of sounding like a politician trying to get down with the kidz. ... [/quote] Excellent analogy. That's what I was searching for in "the best function band I've ever seen" thread.

[quote name='Number6' timestamp='1419088067' post='2636439'] I still maintain that it should state in the promotional material whether stands will be in use.....it just avoids that awkward moment where someone is having to decide....Should i stay or should i go now [/quote] Get your coat!....

[quote name='stingrayPete1977' timestamp='1419087633' post='2636428'] I cant sight read or read a chart quick enough for most songs but I am thinking of buying an open framed stand and a copy of something like "expert notation for talented musicians in 5/8 and 3/4" to put on the stand, but with "Jugs Weekly" hidden inside [/quote] I'm definitely going to do that at our next gig. A black folder with an art magazine. Just in view of the drummer. Can't wait to see his face when we start the first number and I open the folder. Closely followed by the rest of the band when they wonder why he has fallen off his stool. .

I gave up using stands after too many gigs with stage lighting that made it impossible to read the chart. I tried various lights but found it just easier to learn the tunes than carry around a stand, a light, a folder. And then when the band leader decided to produce a different setlist on arrival at the gig; half an hour rearranging the order of my music.

Short selling.

Lots of triplet stuff where you just play the two and three of the triplet. Unfortunately to be any good at any style you just have to immerse yourself in it for weeks. Just listen constantly on your iPod to as much as you can get hold of.

It's kind of what I look for now. If the band isn't getting repeat bookings or gigs from people recommending them it's a no for me. That's how you get in a decent function band and it's how function bands should operate. There's lots of bands out there trying to get gigs. You shouldn't have to try to get gigs. If you're good you'll get offered them.

[quote name='The fasting showman' timestamp='1418899852' post='2634557'] 'The best party /function band' certainly wasn't the rubbish I was doing last Saturday, confirmed by the phone footage I saw. Bloody chronic. I need to start taking heed of other Basschatters and up my game band-wise. Martin [/quote] It's difficult. I played in a band where the enthusiasm was a lot more evident than the talent. We got gigs and people danced. We didn't tend to get many rebookings though...

To rehearse or not is an individual thing. It's not always an option. I was called once on a Thursday to do a gig on a Saturday. When I asked for a setlist and whether they want to meet before the guy told me I'd be OK. I was recommended and they were all standards. Que the most terrifying three hour gig of my life. Standards? My a***!

Yes. You wouldn't want the roof closed at a gig!! http://www.saracens.com/stadium-roof-closed-for-heineken-cup-final/

[quote name='JTUK' timestamp='1418846366' post='2634075'] And a modern stadium that will have factored in live sound/gigs being part of its income so would probably have engineered it to a degree. The old Wembley had a crowd 'roar'...which was great for football as the atmosphere was very good, but it was also a dustbin ( which helped achieve the 'roar' ) and the more modern stadiums aren't so closed in...and have less crowd sound. One doesn't compliment the other .. [/quote] That's what I was thinking. I remember they closed the roof for a Rugby final a while back. Don't think it was done because of the weather. Rugby is an all weather sport (except on frozen ground).

You would be surprised how quick it is to learn 30-40 songs when you know that the rest of the band already have them off pat. When I auditioned or my current band they sent me a setlist on the Sunday and said we should meet in two weeks after I had learned 3 or 4 of them. I told them I was free on the Thursday and learned 3/4 of the setlist in 4 days. They were standards and I thought numbers I should have really known anyway. I didn't even know if I would get the position! It depends on who leads the band musically when you play. If the current guitarist is leading the band and the vocalist is taking ques from him it could be hard work.

It's a fairly good place for some knowledgable answers to some obscure questions. There are pro players here who probably don't identify themselves as such. Mostly non-famous ones. There are electrical engineers on the IET forum who discuss complicated electrical problems they have. Not all professional bass players are obsessed with gear. I've met a few that have no interest in their amplification other than it is loud enough for them to hear themselves clearly. So it's a goo place to come and ask is X worth the money etc.

[quote name='spacey' timestamp='1418831483' post='2633822'] Everyone takes parts of the PA, everyone turns up at a set time, everyone sets up and has a job assigned to do, everyone packs up and nobody goes home until everything is packed away back in cars. Then we share the pot equally. Works perfectly. [/quote] Until someone leaves... Our band worked perfectly until we started changing members. Eventually there were only two original members. Finding people is hard enough without setting out what everyone does. In one band I played the singer was a liability. Good singer but you didn't want them carrying anything or spending anymore time at the bar before we played than necessary. And I don't want to be storing someone else's PA at my house thanks. .

[quote name='uncle psychosis' timestamp='1418830697' post='2633809'] "pro" is an almost entirely meaningless phrase/word. The only definition that really makes sense is "someone who gets paid" although "Having a professional attitude" often seems to get shortened to "pro". I think lots of musicians are under the impression that there's some kind of mythical set of rules or skills that separate the "pro" from everyone else, but reality doesn't really work like that. [/quote] Indeed. We're all just making it up as we go along. Some just look like they know what they're doing.

We did have silly arguments about getting paid extra for setting up PA or for dealing with the client. Two big things that should get acknowledgement and some recompense. But then it got silly with sax player turning up 5mins before start and leaving as soon as the gig finished (and using a music stand) getting the same as drummer who had to be there 45mins before and was still there 45mins afterwards. And someone wanted extra for rearranging setlists and printing them out... All got very silly.

A friend of mine plays trumpet in a well known big band. Their rates are pretty much set. They get travelling expenses, overnight accommodation, travel pay etc. This is why each gig can command a similar price for the band but the manager can then use the extra that he doesn't divide up to pay the extras on other gigs. ie some gigs are less profitable than others. Some may even make a loss. I tried to do this with our function band but the players where having none of it. I was suggesting £100 a gig each whether the band was getting paid £500 or £1500. But then they wouldn't agree to play the £500 gigs for £70 each and moaned when we weren't getting gigs. Musicians and business. Never mix. That's why there are so many agents about. Lol.

It depends on what people are doing. If loads are up dancing then no, no gaps, straight into next tune. If people are watching then yes, gaps for people in the audience to say a couple of words to each other is fine. Rest their ears for a few seconds. For the singer to engage a bit with the audience. You can't keep blasting your tunes at people. It's not a one size fits all thing.

[quote name='leschirons' timestamp='1418783636' post='2633379'] Under pressure to sign ... [/quote] That's the sticking point. A fairly important point as well. Most consumer contracts have a 14 day cooling off period. Ok, this is a contract between two professionals. I would expect both parties to act proffesionally about it.