The Commercial Conductor

by Chad Shoopman

The commercial conductor must be diversified. Besides being a great musician, he/she must balance the desire to make the music as artistically viable as possible with the ability to work efficiently within an often, time-constrained event. The commercial conductor must be an effective communicator, not only with his/her baton to the musicians, but also with verbal tact to the producer, director, guest star, stage manager or any other party that may or may not be well versed in the art or language of music. In the world of commercial music there are often many parts that must come together to create the final product. Unfortunately for the conductor, the music is usually the last item to be addressed. Therefore, the commercial conductor fills many other roles before performing a single note of music. Here are some issues that get overlooked, yet need consideration from the commercial conductor’s point of view.

Responsibility to the Music

• The Music is the most important thing.

• Preparation beforehand is crucial. Score study and all that entails (tempo, harmonic understanding, potential difficulties for the musicians, potential difficulties for the conductor, etc…) must be worked out prior to the first rehearsal, whenever possible. The day of any commercial event will be filled with logistical chaos, and the last thing anyone will be concerned with is the music. It must be second nature to the conductor.

Responsibility to the Musicians

• Be genuine - A conductor’s first responsibility to the musicians is to be himself/herself. Musicians respect honesty. To be efficient and effective, one must have some basic level of respect. If the conductor tries to be something other than genuine, the musicians will see through it immediately and respect could be compromised.

• Clear communication – Tell them only what they need to do  the job the best they can.

• Respect and Appreciation – Showing a genuine respect and appreciation for the musicians is crucial. They are often under great pressure to produce flawlessly with little or no preparation. Remember that the baton makes no sound. It is much easier and less noticeable to recover from a conducting “flub” than an instrumental one.

•  Leave the “holier than thou” attitude at the door. - The musicians are on the conductor’s side until he/she gives them a reason not to be. Ego has no place in the commercial music world. There is not enough time or patience for a conductor to be Otto Klemperer while at the podium.  

• Positive attitude is key. - The joke goes, “How do you make a musician complain?” “Give him/her a gig!” Group mentality always favors the negative. The conductor’s role is to “spin” everything that happens in a positive and uplifting manner. The musicians will appreciate the “nothing can get under my skin” attitude and the conductor will be able to get more out of the musicians.

• Translator – When the producer, director, etc… says, “I need more purple from the orchestra,” it is the role of the conductor to translate that request to the musicians, in order to get the desired results. If the conductor does not understand the request, which is often the case, then it is his/her responsibility to find out quickly, and without incident.

Responsibility to the Producer, Director, Manager etc…

• Communication/Translation/Compromise. – The ability to communicate effectively to those in charge is paramount. Not only should the conductor be able to explain the musical things that need to be addressed in a way that is clear and easy for anyone to understand, but he/she must be careful not to come across as a “snobby, condescending jerk.” Conversely, when the “boss” asks for something that is out of the realm of possibility, the conductor must be an effective diplomat by offering alternate possibilities to accomplish the same goal while including as much of the original request as possible. The ability to compromise when working with anyone is a valued trait. Undoubtedly, the time will come when a line is drawn and an unreasonable request pushes the musicians’ level of comfort. It is the conductor’s responsibility to present it to the musicians in a manner that promotes accomplishing the task at hand to the best of everyone’s ability while keeping both sides happy.

• Production and Results – These are the people paying the bills; therefore it is important that they are happy with the product they are getting. They often don’t care how it gets done, so long as it gets done. The conductor is to blame if the desired result is not accomplished…right or wrong.

• The boss is always the boss. – My dad told me, “The boss may not always be right, but the boss is always the boss.” This applies here perfectly. These people will often not leave their egos at the door, and they need to feel like they are in charge. As the conductor, you want to make sure that any ideas offered by “the boss” are entertained and used when appropriate, and credit is also given.

• Us vs. Them – It is easy to take an adversarial approach when working with someone who may or may not know a lot about the role musicians play. However the conductor must keep an open dialogue and positive working relationship with those in charge. The better the relationship with the conductor, the better the relationship with the musicians, and therefore a much better product. 

The conductor’s job is a delicate balance of personality, responsibility and artistic integrity. Hopefully, this has shed some light on the many other responsibilities often left out of conducting books that are required to be a successful commercial conductor. The music business is about people. Being able to work with others in a fair productive manner is what creates long and lasting important relationships necessary to be successful.  

Chad Shoopman is a Professional Trumpet Player and Conductor. He has worked for Walt Disney World as a musician since 1996 when he performed with the All American College Orchestra. He has been a full-time musician with Walt Dinsey World since 1999. His freelance work has brought him many credits, among them are conducting for The Candlelight Christmas Program at EPCOT Center, several recording sessions for television commercials and soundtracks (including the Danny Elfman soundtrack to "Extreme Measures") and filling the role of conductor/clinician for the Magic Music Days Program.

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