Advice for Musicians Wanting to Break Through: Analyzing the Careers of Andres Segovia and Julian Bream

I’d like to thank Kailee Bialaszewski for the wonderful guest post that follows. Although it takes a look at the classical guitar scene I think it is very valuable information for any musician. -Bradford

First of all, I am not a classical guitarist. My BA is in Music Education from the USA, and a Postgraduate Degree in Music Business Management from the United Kingdom. I am a classically trained musician, teacher and business affiliate, that has been intrigued by the classical guitar world, and the gripes that appear at an international level.

Within the past 10 years as an outsider to the classical guitar genre, I have noticed that although there are numerous classical guitarists, (more than originally perceived and more talented at that), if I had not been required to write a report on classical guitar for a functional guitar class, I doubt I would have ever stumbled across recordings on my own accord. That being said, from what was an assignment of one page then, I have now completed an assignment of over 100 pages to perhaps assist classical guitarists, and those touched by this niche genre, in developing into an established niche market.

This article is a concise abstract of my master’s degree dissertation that I finished in June 2011. It is a working theory based on the analysis of the careers of Andres Segovia and Julian Bream. If you would like the list of sources, or to read the entire dissertation feel free to write to me at: kaileebialaszewski@gmail.com

Julian Bream

I do not write these words to offend those whose profession rests in the classical guitar world (I am in this profession as well), but I write them to offer a different point of view to all of those who at times feel lost in the direction of their classical guitar career. The basis of my paper were to address the points of what key factors contributed to the successful careers of Andres Segovia and Julian Bream, and could their success be replicated currently? That being said, my dissertation was not to analyze the personal goals of classical guitarists, and the level of fame in which each individual wants to achieve, but to provide insight on how one might go about reaching the status of Segovia and Bream if they wanted it.

The first conclusion that must be established is the fact that although there are bountiful amounts of classical guitarists in the classical guitar world, the business market place for classical guitarists, aside from the wake Milos Karadaglic is making currently, does not exist. That being stated, and a hard fact to truly accept, what must you do to break through the classical guitar world like Segovia and Bream did? Whether or not you like Segovia or Bream, the fact of the matter is that they were the first classical guitarists to truly achieve recognition outside of the classical guitar world, and for that matter, classical musicians in general. Although there are other classical guitarists, considerably one must think of John Williams, who has achieved recognition by the general masses as well, for the lack of space and time in my dissertation, I did not have time to analyze his career with as much scrutiny as Segovia and Bream’s, and therefore did not include him in my analysis.

However, based on the analysis of Andres Segovia and Julian Bream’s careers, the outset, the tipping point, and the conclusions of two of the most influential classical guitarists careers is as follows:

If you have chosen to endeavor in a career of classical guitar, and you want to live off of this choice, then you must truly be a classical guitarist. In a world where guitar is so easily accessible, the lines of being a “guitar” player are incredibly blurred. When was the last time you could say that you were just a “guitar” player, and they knew it was classical guitar you were talking about, and not flamenco guitar in that category as well? That said, if you are a classical guitarist, you are only a classical guitarist in your profession. Master your profession, become noticed in your profession, labelled by your contemporaries, and then if you chose to dabble in another genre of music. Numerous times I have been fought on this point, but when you go to school to be a dentist, you tell people you are a dentist and when they come to you, the dentist does not start fitting you for braces, instead of cleaning your tarter. What is the difference you say? Do not label yourself as something, that when people hear, read, or see you they leave wondering what exactly you are. It is a difficult decision, but just because we have chosen music as a career, does not mean that we can be lost souls, because the rest of the world thinks music is a difficult career to have. It is as difficult as you make it. Have pride in your choice, and master it.

Second point. See the bigger picture. You have chosen to be a classical guitarist, you are mastering your profession, now before it is too late, choose a goal. Do not choose a wavering goal, chose something that seems impossible, and do not let anything stop you until you yourself have reached it or know your limitations. At the same time, once you have chosen your perfect dream, find at least one person to help you get there. Do not do this in the reverse order if you can. Unless you are willing to take the advice of others, do not let someone else choose your goal, they are yours for a reason. Find someone who has the “education” to do what it takes to move you forward. It is difficult, and it will most definitely take a long time and seem impossible, but if you have the right tools, you can guide your career with them. That being said, you yourself must be educated in your entire profession. Know who your “competition” is, where they are, and what things you should do to bring you to the top of your career. It is a lot of work, you must not be lazy.

The final point, in handling your career, is once you become “famous”, do not stop doing what you did to get there. One of the worst things that you could do to yourself and classical guitarists in general, is disappear or damage the reputation you have worked so hard to obtain. This does not just consist of maintaining a high level of performance, but it also includes playing the incredible range of repertoire that classical guitarists have. When you think you have a poor selection of repertoire, stop comparing yourselves to piano or violin, and think about the tuba, classical accordion, or recorder. That is in no offense to those instruments, I like them all, but I am making a point. Stop whining and start educating yourself with the phenomenal pieces and composers classical guitarists have in their pocket, and enjoy it. Once you reach a level of importance and recognition, take a minute and reflect on the work that you did to get there and decide if you want the classical guitar market place that you have become to expand and last, or if you want it to disappear again when you retire? This is where it becomes your choice.

They say there is little competition and vanity in the classical guitar world, and generally compared to other classical instruments it is true. However, if you make it to the top, what do you have to lose at that point if you help someone else? Yes, it is you who did all of the work to become known, but for the instrument, for the classical guitar itself, it is time to maintain a market place with the rest of the classical musicians, instead of being known as the ones in school who cannot sight-read/sing or analyze. Do something for the instrument at this point.

Some of the best words of advice, in summation, taken from my research of Segovia and Bream are to know when to leave. Even the best players can over stay their welcome. There is nothing wrong with staying in the classical guitar world, but reflect the next time you judge a classical guitarist who wants to go beyond the classical guitar world, because it is that person who is working to make what you do worth more in the business market place. If you are as uncompetitive as you say, then unite towards a common goal. Be proud of who you are, but do not be lazy in anything you do.

This was a guest post by Kailee Bialaszewski

You can join her on Facebook

Born in 1986, Kailee Bialaszewski has been surrounded by music since she first arrived in the USA. She began playing piano when she was five years old and quickly gathered interest in other avenues of performance while going through her early education. By the time she was in high school Bialaszewski chose to further pursue her love of music as her field of college level study.

In 2008, Bialaszewski graduated from SUNY Potsdam’s Crane School of Music with her bachelor’s degree in Music Education k-12. Upon graduating, Kailee moved to California and found a job as an elementary band teacher for five schools in the Bay Area. Although the love of teaching remained after the year ended, the politics involved in being able to spread music to others had a strong influence on professional alteration.

After a year of searching for a career that could work with her continuous moving, Kailee realized she was going to help the musicians her life had always been surrounded by. Stumbling into the niche market of the classical guitar in college, Bialaszewski had been to numerous classical guitar events since her first concert in Crane, and realized that in some form she was going to help these musicians who work so diligently to reach a level where there were so few people there to help them get further.

Since realizing her goal, Bialaszewski has attended graduate level schooling for music business management, and has done an analysis of the careers of Segovia and Bream in an effort to help musicians manage their own careers similar to the legends in their career outsets. Bialaszewski has also begun managing classical guitarists in addition to a documentary series in promoting the awareness of the classical guitar world, that began filming in the Fall of 2011.

In an effort of combining her love of teaching and her desire to help others, Bialaszewski has committed to a career path in which she can teach and give advice to those who don’t know which business direction to take in their careers. Knowing the commitment it takes to become one of the best musicians, she is determined to return the diligence to get a musician to know how to reach and surpass their goals.