How to Book a Guest Artist for Your Program

“Good afternoon — would you be available to solo with our group? Yes? Great! Also, in the event I suffer a debilitating tree nut allergy and go to the ER, could you also run the entire rehearsal with no prep?”

That’s not how the conversation went, but it is what happened. I was excited to bring in a professional trumpet player to perform with my kids. He was well-known and performed internationally. If you’ve ever heard someone at that level play live, you know what kind of opportunity that was. We were ready!

Before the rehearsal, a student brought in some cupcakes to share. She offered me one. I broke my rule of not accepting food from students and failed to ask about the ingredients. A half-hour later, our guest artist arrived. Through a swollen throat and hives, I introduced myself, let him know I had to go to the ER and asked if he could cover the rehearsal. I told him the principal was on his way to supervise. He said yes — what a good sport. (Also, don’t worry — I lived.)

Everything turned out fine. The kids learned a lot. The concert went great, but we had to make some adjustments. I don’t think your situation will go as wrong as mine did — but it is important to have a plan.

Guest artists are worth booking. You just have to be thorough.

This Isn’t a Luxury

Bringing in a guest artist can feel like a luxury. Something you do if there’s leftover money or extra time. I think it’s one of the most important things you can do for your group.

Your students listen to you every day. That’s not a bad thing — but it’s one voice. One set of ears. One way of explaining things.

A guest artist changes that immediately. Your students hear a different sound — live, in the room. Not a recording. Not a YouTube clip. A real person making music at a high-level right in front of them. They also hear instructions differently. You can say the same thing for six weeks, and it doesn’t stick. Someone else walks in, says it once, and the kids respond like it’s brand-new information.

“Do you know what forte means?”

“No! Mr. Stinson never taught us that,” the students say in unison.

Avoid calling them “traitors” and just let it be. What’s important is that the kids get the information.

A guest artist adds variety to a routine. There are times of the year when your group needs something different, and this gives you that while supporting your curriculum.

Start Small

Your first guest artist does not need to be a nationally known name. It just needs to be someone solid who works well with students.

Look local:

• College professor
• Freelance player in your area
• Strong teacher from a nearby district

These people are easier to schedule, cost less and still bring a ton of value. More importantly, you get to learn how this guest-artist thing works without a lot of pressure. You figure out timing, communication, pacing — all the stuff that’s not covered in a methods of teaching class.

Expect to miss something the first time. At this point, it’s better to forget something small than something expensive. You can always go a different direction later. You don’t need to prove anything.

Secure the Funds First

Don’t guess. Don’t assume. Definitely don’t listen to the tenured teacher on their way out saying, “It’s better to beg for forgiveness than to ask for permission.”

Instead, prepare and ask. Talk to your administration early. Be clear about what you’re trying to do and why it matters. If your school supports athletic teams bringing in trainers or extra coaches, this isn’t a stretch.

Three key pieces of information to have:

1. Artist fee: Start by contacting a couple potential guest artists, explain what you’re looking for and ask for a ballpark figure. Some may not want to give a price or may ask you what your budget is. It’s OK to push a little and tell them that you have to bring a clear price to the powers that be and that you’re not certain of budget.

2. Travel (this can make cost go up quickly): Travel can be a big cost. Flying someone in versus driving distance is a completely different conversation. If the numbers don’t work, consider 1) splitting the cost with another school, 2) partnering with a school or community college or 3) Look for artists already in your area for a festival or university event.

I’m a little spoiled because my school is an hour from Chicago. It’s not a huge deal for us to book someone already flying in for the Midwest Clinic in December. If you don’t have that luxury, contact some colleagues to see if they know about any festivals or anyone who may be coming into town sometime soon.

If one event wipes out your entire budget for the year, it’s probably not the right move. You still have to run your program the other eight months.

3. Pick the Right Person for Your Group: A big name doesn’t always mean good fit. You want someone who can teach, not just perform. An artist who can’t connect with students and doesn’t understand your ensemble’s level may end up leaving a bad taste in everyone’s mouth.

Don’t dig for dirt but do ask around for recommendations. Other directors will tell you who works well with students.

When you reach out to the guest artist, be clear about your group. Tell them 1) what grade level you teach, 2) what your ensemble actually sounds like (not what you hope it sounds like) and 3) a few pieces your group has performed recently.

“We’re a high school band” doesn’t tell them much. “We’re a non-auditioned 10–12 band that played Grade 3 literature last semester, including ______” does.

This information helps the guest artist prepare — and makes your rehearsals and performance better.

Choose Music That Works

You can ruin a great opportunity with the wrong piece. Pick something your group can handle. Not survive — handle.

The programming process with a guest artist may be the most important decision you make. Take your time with this, and it’s OK to let the guest artist know if a piece they are suggesting won’t work for your current group. Better to work through this now rather than be stuck with an obligation that stresses everyone out.

Details Matter

Have a special rehearsal scheduled that is non-negotiable. Confirm everything:

• Equipment needs
• Timeline for the day
• Food and dietary restrictions if serving food
• Travel logistics
• Double check with your admin/building schedule

Also, have a backup plan. If you’re out sick, stuck somewhere or something unexpected happens, who will run the rehearsal? Who has the schedule? Who knows what’s going on?

I didn’t have a real backup plan when I had to race to the ER, but I got lucky.

For the performance, have a structure. One example:

• Clinic or masterclass beforehand
• Dress rehearsal
• Optional Q&A
• Performance

When the day comes, you shouldn’t be figuring things out in real time. You should just be running the plan.

Make It Bigger Than Your Band Room

The best thing about music is that everyone benefits — not just the performers, but the audience as well. Hosting a guest artist is an event — not just another concert. Invite administration, school board members and local officials. Contact the local news outlet, and put information out on social media. Talk to your students and parents about inviting people personally. That goes further than an email blast.

If you don’t tell anyone, they won’t know. That’s a missed opportunity.

This helps your program long-term. People appreciate the opportunities you supply for the youth in their community. They’re more willing to get behind your program when they see something great.

Get Your Money’s Worth

If you’re paying for an artist, don’t use them for one hour and send them on their way.

A solo plus a feature with the ensemble works well. For trumpet guest artists, we often program something like Bugler’s Holiday — students stay engaged, and the artist gets room to do what they do. If you have a younger ensemble, simply ask the guest artist if they would be comfortable sitting in on a couple other pieces.

If the guest artist agrees to be out for a long period of time, build out your day even more:

• Sectionals
• Short clinics
• Q&A sessions

Even a 20-minute sectional or a quick talk with beginners can make a difference. If you have permission, record parts of it. You’re not just paying for a performance. You’re paying for access.

After It’s Over, Follow Up

When someone helps, say thank you. This includes the guest artist, performing students, audience members, administration and anyone who helped make it happen. Thank people publicly whenever you can.

Then follow up directly a week or two later with a quick written thank you note to your administration and any donors. Include a picture if you have one. Have kids write the thank-you note for added impact.

This is also how you keep the door open. A simple “we’d love to do this again sometime” goes a long way.

Tip: It can be tough in the moment to remember key people who attended the concert. Consider asking a volunteer parent to make a list of people who should receive thank you notes. And don’t forget to thank the parents!

Keep It Simple

Start with what you can afford. Choose someone who fits your group. Plan it well enough that you’re not scrambling. Have a backup plan … just in case your day goes completely off the rails.

If students hear great playing, learn something new and feel like they were part of something different for a day, that’s an event they’ll remember.