The Music Performance Résumé Handbook

Office of Careers and Professional Development Institute for Music Leadership at the Eastman School of Music 26 Gibbs Street Rochester, NY 14604 Ph. (585) 274-1210 Fax (585) 274-1047 Office Location: 1st Floor Miller Center, 25 Gibbs St. careers@esm.rochester.edu www.esm.rochester.edu/careers

updated July-12

© 2012 Office of Careers and Professional Development at the Eastman School of Music *This document may not be copied or distributed without written permission.

... 4 Format ..... 9 Sample Résumés....Table of Contents What is a Résumé?.. 3 The First Draft ............................................................................................................................................................................................................................................................................................................................................................................................................................................11 Bibliography ..................................................... 7 The Finished Product .............................................................................................................................................. 6 Style ..........................................................................19 -2- ...............................................................................................................................................................................................................................................................

it must be perfect – well organized and highly polished. presentations and publications. Statistics show that the average employer spends less than 10 seconds scanning a résumé. it has two basic purposes. employers in academia will often ask for a “vita” in an employment advertisement when they wish to receive a one to two page document that others might call a résumé. What is the difference between a résumé and a CV? The primary differences between a résumé and a vita (curriculum vita) concern issues of detail and content. Content typically includes earned degrees. For practical purposes. Typically résumés end at page one or two. Thus. A great résumé alone will not get you a job. It should directly and concisely list any experiences related to the teaching position you are seeking. The two documents are very similar and many employers use the terms interchangeably. Some description of your experiences may be appropriate. so the overall design and format of a résumé is important! The other purpose of a résumé is to encourage potential employers to pay close attention to you when they do meet you or hear you perform. a résumé is not an autobiography – it is an outline of your experiences. The first is to create in the reader such an interest in you that s/he will want to invite you for an interview or audition. -3- . Résumé or CV? Some people understandably confuse résumés and vitae. CVs begin on page 3. a résumé is your representative when you are not present. but length is a secondary concern. Purpose and Importance Although a résumé is useful in a number of situations. A CV typically is an evolved résumé tailored to meet the rigors of a search for an academic position. In fact. this handout will focus on résumés used when seeking performance positions.WHAT IS A RÉSUMÉ? A résumé is a formal overview of your past and current professional and educational experience. but you should be as concise as possible. but a poor résumé can easily keep you from getting even an interview. Remember. The résumé should serve essentially as an advertisement of and for a product – you! It should make the employer (the “buyer”) want to take a closer look. teaching at the collegiate level. evidence of research and/or scholarly work. A résumé is a summary of one‟s experiences. This type of resume should be 1 page long. Remember.

Partial Roles Choral Experience Conducting / Guest Conducting Positions Compositions/Arrangements Selected Compositions / Performances Premiers Current Projects Commissioned works Recordings and Broadcasts Tours Competitions Affiliations/Memberships Honors/Awards Scholarships Fellowships Scholastic Awards Prizes and Grants Other Experience Language Proficiency Community Service Volunteer Work Collegiate Extracurricular Activities -4- . Licensure. Look over these categories carefully and decide which ones would best present your professional and educational experience. rather. Name Instrument or Voice Type Contact Information Home and/or Work address Current/Permanent/After “x” date Phone numbers Email Education/Training Degree(s) earned (include dates and institutions) Grade Point Average High School Study (if at a major music institution) Major/Principal Teachers Master Classes Coaches Summer Festivals Professional Certification. Musical Theater Full Roles. Roles Studied. Jazz Festivals Freelance Voice-Opera. Most importantly. design and organize your résumé so that it best highlights your experience. Accreditation Performance Experience Solo Experience Solo with Orchestral Engagements Recitals Chamber Music Orchestras/Wind Ensembles Jazz/Rock Clubs. do not feel compelled to follow a given formula.THE FIRST DRAFT… Résumé Categories The following is a list of possible categories (in no particular order) that you may wish to include in your résumé.

Gainey Music Center. write down everything under the appropriate category titles. 2007 Lancaster Festival Orchestra and Chamber Orchestra. 2005 Chamber music Cleveland Quartet Seminar. 1999-2000 Solos with Orchestras Ridgewood Symphony Orchestra.Remember that this list is by no means all-inclusive! Some of the categories may not suit your purposes or needs and you probably won‟t have something that fits into every category. and then decide what to keep and what to omit. 2006-07 Coaching with the Cleveland Quartet. Lincoln Center. Michael Daugherty. 2006 Sewanee Festival Orchestra. Rochester. 2007 Eastman Philharmonia. For now. Performance and Literature. In your first draft. Save the editing of this information until you have a better sense of how you want to lay out your résumé. concertmaster. concertmaster. Istvan Jaray conducting. 2006-07 Aspen Chamber Orchestra. 2003 – present Musica Nova: contemporary ensemble. NY 14604 (585) 555-1212 Orchestra Experience Rochester Philharmonic Orchestra. 2006-07 Eastman Dryden Orchestra. 2006-07 Heidelberg Schloss Spiele Orchestra. To be sure that you weigh your experiences evenly and avoid significant omissions. Performances in Kilbourn Hall and the Rochester Public Library. you should first get everything down on paper. others. Don‟t worry! Many people make the common mistake of selling themselves short. Performances with Julius Baker. Intermusica: chamber ensemble. Sandra Dackow conducting. They prejudge their past experience and its inadequacies. Do not eliminate anything in the process. Ronald Braunstein conducting. others. often eliminating good. Performances for Charles Wuorinen. just keep an open mind! The following is an example of what a list might look like after a brainstorming session: Jane Smith Violin 111 East Ave. Eastman School of Music. John Graham and Catherine Tait. 2000 Livingston Symphony Orchestra. 2006 Eastman Graduate Chamber Orchestra. relevant experience before it ever has a chance to get down on paper. 2004-05 Juilliard Pre-College Orchestra. assistant concertmaster. 2000 Coaching with the Juilliard String Quartet. Education MM. Americo Marino and Patrick Strub. 2005 Eastman Opera Theater Orchestra. Juilliard Quartet Seminar. 1999 Member of the Santiago Piano Trio. Performance in Paul Hall. 2007 Juilliard Pre-College Orchestra. concertmaster. May 2007 Eastman School of Music -5- . substitute.

and is used most often to produce a highly focused résumé for a very specific job. Most performance résumés are targeted résumés. Any résumé that you are writing solely for a specific job would be a targeted résumé. Past work experience should be listed separately. Juilliard School of Music. This format is not commonly used for music positions. abilities and accomplishments rather than the places where you obtained them. that is. Most people who use this format will have sub-categories. reverse chronological) order. The entire résumé need not be in reverse chronological order. May 2000 Teachers Violin William Preucil Donald Weilerstein Sylvia Rosenberg Sally Thomas Chamber Music Kronos Quartet William Preucil Abram Loft Robert Sylvester Thomas Paul Master Classes Joseph Gingold Cho-Liang Lin Joseph Buswell Janet Bookspan Gilbert Kalish FORMAT Once you have thoroughly brainstormed your past and current experiences. as the name suggests. May 2005 Eastman School of Music (valedictorian) Diploma. lists your work experience in chronological (or more typically. Order of Importance With this format. it is time to decide on a format for your résumé. experiences are listed in the order of importance to the reader. Functional A functional résumé highlights your skills. and will arrange information in reverse chronological order only within each category. This format enables the reader to track your work history easily. A targeted résumé does not have to be limited to performance jobs. check for gaps of unemployment and visualize your professional growth. using characteristics of each of the first three formats. enabling him/her to see your most relevant and impressive information first. This form is almost always used for performance résumés. but the focus is on skills and identifying those that are transferrable to the job to which you are applying. -6- . Pre-College Division. much like those listed in the résumé category section on pages 5-6. The four most common résumé formats used by musicians are:  Chronological  Order of Importance  Functional  Targeted Chronological A chronological résumé. they eliminate all peripheral information and discuss the only two things that readers/auditioners are interested in: training and performance experience. Targeted A targeted résumé is not as much of a format as it is a style. It is often eclectic.BM and Performer‟s Certificate.

jd000e@mail. #c11 rochester.edu -7- .edu violin Jane Smith. for a performer who has just graduated and does not have much experience.rochester. and contact information.edu 111 East Avenue.rochester. NY 14604 (585) 555-1212 jd000e@mail. address.rochester. violin 111 east avenue. #C11. However. #C11 Rochester. including telephone number and email address. education is the first category an employer would want to read. Try to create a “letterhead” that will help your résumé stand out from others. that is the first category an employer would want to read. #C11 Rochester NY 14604 (585) 555-1212 jd000e@mail. For a person with years of performance experience.rochester. NY 14604 Jane Smith violin (585) 555-1212 -.rochester. ny 14604 cell (585) 555-1212 jd000e@mail. Some examples of letterheads: Jane Smith.edu ~ Jane Smith ~ 111 East Avenue. but the use of something that is pleasing to the eye and reflects your overall style can also be used on your other submitted materials to give a professional. You don‟t need anything too flashy. As you gain experience. you will rearrange your categories and add new listings and delete the older ones. Rochester. #C11 ● Rochester NY 14604 (585) 555-1212 ● jd000e@mail. violin 111 East Avenue. STYLE Letterhead The top of your résumé should include your name.edu JANE SMITH.Order The order of your résumé categories should reflect the position you are applying for and your level of experience. violin 111 East Avenue. uniformed look.

Performance and Literature. others. #C11 ● Rochester NY 14604 (585) 555-1212 ● jd000e@mail. others. NJ New York. NY Aspen. Istvan Jaray conducting Sewanee Festival Orchestra. Eastman School of Music Bachelor of Music and Performer‟s Certificate. Pre-College Division MAJOR TEACHERS Violin William Preucil Donald Weilerstein Sylvia Rosenberg Sally Thomas Chamber Music Kronos Quartet William Preucil Abram Loft Robert Sylvester Thomas Paul Rochester.What a final résumé might look like… Jane Smith. NY Heidelberg. NY 2007 2007 2006-07 2006-07 2006 2006-07 2005 2004-05 1999-00 2007 2000 2006 2005 2003 – present SOLO PERFORMANCES WITH ORCHESTRA Ridgewood Symphony Orchestra. MN 2006-07 2000 1999 Rochester. Juilliard School of Music. concertmaster Aspen Chamber Orchestra Eastman Dryden Orchestra. NY Master Classes Joseph Gingold Cho-Liang Lin Joseph Buswell Janet Bookspan Gilbert Kalish May 2007 May 2005 May 2000 -8- . NY Ridgewood. Ronald Braunstein conducting Livingston Symphony Orchestra. NJ Sewanee. Performances with Julius Baker. violin ORCHESTRAL EXPERIENCE Rochester Philharmonic Orchestra. NY New York. Gainey Music Center Member of the Santiago Piano Trio. Performance in Paul Hall. Performances for Charles Wuorinen. EDUCATION Master of Music. Michael Daugherty. NY Livingston. concertmaster Eastman Graduate Chamber Orchestra. NY Lancaster. Eastman School of Music (valedictorian) Diploma. concertmaster Heidelberg Schloss Spiele Orchestra Eastman Opera Theater Orchestra Juilliard Pre-College Orchestra. Germany Rochester. NY New York. CO Rochester. NY Owatonna. NY Rochester. Performances in Kilbourn Hall and the Rochester Public Library. Intermusica: chamber ensemble. Sandra Dackow conducting Juilliard Pre-College Orchestra. NY New York. Lincoln Center. TN Rochester. substitute Lancaster Festival Orchestra and Chamber Orchestra Eastman Philharmonia. assistant concertmaster 111 East Avenue. Juilliard Quartet Seminar Coaching with the Juilliard String Quartet.rochester. OH Rochester. Cleveland Quartet Seminar Coaching with the Cleveland Quartet.edu Rochester. NY Rochester. Americo Marino and Patrick Strub conducting CHAMBER MUSIC EXPERIENCE Eastman School of Music Musica Nova: contemporary ensemble. John Graham and Catherine Tait.

) as a way to “stand out. Be cautious of this and use PDF‟s whenever possible. as a courtesy to your referents. the different versions of Word can change your formatting. you can be confident that it will be sent out to arrive in a timely manner. you should set up an Interfolio credential file. and Verdana. You don‟t want to make your reader squint to read too-small print. you can upload your own résumés and cover letters. choose a font style that looks professional. you will be eligible for a free account. Don‟t be afraid to make it your own with your own unique style. They should be able to quickly skip down the page to any category. Consider opening a credential file with Interfolio. if you have certification documents. An easy way to send all of these documents together in the same packet is to use Interfolio. however. Ask your teachers and colleagues to read your résumé and give you their impressions. which looks elementary and seems to be striving to fill space. (Note: going with white bond paper may actually be one way of standing out since most résumés today are printed on light. Times New Roman. The overall goal for readers is to find information easily. Overall Look Make sure that the fonts you use are easy to read. If you are applying for many jobs. When emailing or uploading your résumé to a potential employer. one that is easy on the eye (e. font size and style to something other than what you intended. Paper You should invest in high-quality bond paper – it need not be too expensive. Interfolio Some employers looking to hire performers require that transcripts and letters of recommendation be submitted along with a résumé and cover letter. This would allow you to be able to send one package to the position you are applying for. When emailing Word documents. You also want to avoid too-large print. Once you have created an account.com before you graduate from Eastman. even to distinguish between category headings and entries. there can be a range of opinions on what produces the most successful document. make sure the difference is subtle and doesn‟t call attention to itself rather than the content. Similarly. Once you have completed your résumé. CAPS. remember to be consistent. Think carefully before making such a choice.” Using such colors will attract notice but will also scream “look at me!” as if the content might not be enough to grab a reader‟s attention. ivory. but should be better than regular photocopy paper. We strongly caution you against choosing a “wild” color (chartreuse. Some good examples of font styles are Arial.com. Different opinions on the finished product can help you shape it further.g. Whatever font style and size you choose. send the document as a PDF. Additionally. It can also be opened as an alumnus. take some time away from it to achieve distance. like musical tastes.) Emailing your résumé Many employers now accept résumés and cover letters electronically by email or by uploading it to their website. off-white.THE FINISHED PRODUCT Creating an effective résumé requires time and careful revision. Then come back to it with a critical eye to see if it conveys a good candidate for the kind of position you want. pale grey). copies of these can also be uploaded as part of your file. if you open the file while you are enrolled. This service allows file holders control over their files 24/7. Don‟t play around with creative fonts as they distract and often annoy readers. hot pink. etc. non-white shades. Instead. Don‟t switch from one to the other throughout your résumé. Contact the Office of Careers and Professional Development for more information. However. remember. If you do decide to change font size as a means of distinguishing. use bold. Until a letter has -9- . Choose an attractive color. It saves your referents the trouble of having to write the same letter for each of your job applications. Your credential file generally consists of your letters of references and unofficial transcript (must be initially requested from the Office of the Registrar). or underlining to highlight important categories or subcategories. Some job applications will require a credential file in the initial stages of a job application. The Office of Careers and Professional Development has partnered with Interfolio to offer an online credential file service. Once you know that a letter from your referent has actually arrived in your file. You can also add to your file your CV and cover letter.

Confidential references allow your writers to speak openly and candidly about your skills. So choose carefully!!! References that date back more than five years are not considered current.10 - . email or stop in to set up an appointment today. do not assume that a letter has been written or sent. Make sure they have enough time to write a good letter on your behalf. By choosing your referents carefully.arrived in your placement file. you retain a large degree of control over the quality of your credential file. you should bear in mind that old references do not represent your current level of work and achievement. you can choose whether or not to have that letter sent out. the only thing that you can be told about your file is whether or not the letter has arrived. They generally carry much more weight in a committee‟s mind. despite assurances that it has! Most letter writers have the best intentions. Confidential letters are highly recommended. We‟re happy to review your document and provide feedback on your finished product. However. Letters of Recommendation Choose referents you are confident will write stellar letters for you. Depending on their response. THE FINAL STEP Set up a meeting with the Office of Careers and Professional Development! We are here to help you with all your job search needs! Call. ask them if they would feel comfortable writing a good letter of reference on your behalf. You can check to see if a letter has been uploaded by logging into your Interfolio account. including writing letters of recommendation for people other than you. but are often swamped with a variety of duties. and who will take the time to „go to bat‟ for you. and should not necessarily be „big names‟. but can still be used. . When asking these people for letters of reference. If you choose to have confidential references placed in your file. The referents should know your work well.

SAMPLE RÉSUMÉS .11 - .

) Figaro (touring co. Don Alfonso * Il Conte Almaviva * Harlekin. tenor Kenneth Merrill Korby Myrick. soprano Training Drama teachers: Lynn Singer James Simpson Christina Curren David DeRose (directing) Education B. Donald Neuen. Dante Anzolini. Vocal Performance Eastman School of Music. Masetto* Guglielmo. Barbara Hill Moore. Judy Congdon. CT M. Rochester.James Browning Baritone 240 South Goodman Le Nozze de Figaro Il Barbiere di Siviglia Albert Herring Red.) Bartolo Inspector Budd Monty Wooley Henry Davis Dr. Fenno Heath. Carol Webber. cond. in progress . Yale Chamber Players. cond. Pangloss Benoit/Alcindoro Æneas Junius The Mikado The Usher Don Giovanni. cond. Hot & Cole! Street Scene Candide (scenes) La Bohème Dido and Æneas The Rape of Lucretia The Mikado Trial by Jury Don Giovanni Così fan tutte Le Nozze di Figaro Ariadne auf Naxos • Rochester. Marian Dolan. New Haven. Musiklehrer* Eastman Opera Theater Eastman Opera Theater Eastman Opera Theater Eastman Opera Theater Eastman Opera Theater Eastman Opera Theater Opera Theater of Rochester Yale University Yale University Yale University Yale University *roles studied Bach Cantata 182 Bach Matthaus-Passion Handel Messiah Mozart Requiem Mozart Coronation Mass Fauré Requiem Solo Concert Work Rochester Bach Festival. mezzo Yehudi Wyner Barbara Kilduff. cond. Berkeley Chamber Players.12 - . Eastman Chamber Ensemble. Janet Bookspan (Dramatic interpretation) Master classes. soprano Master class. tenor Master classes. Eastman Philharmonia. cond. William Sharp. Seth McCoy. NY. cond.A. Alexander Platt.M. Awards & Master Classes Winner. New York 14607 • 585/555-2710 Roles Bartolo (in-house co. Theater/English Yale University. Yale Glee Club. Melvin Butler. cond. Yale Summer Chorus & Orch. soprano Voice teachers: Voice coaches: Seth McCoy. baritone Master class. Trumbull College Fine Arts Competition Eastman School Voice Fellowship Master classes.

Television Pro Arte Records CDD 480. with members of the Eastman Chorale “ . Reid Apprentice Artist Opera Pacific Apprentice Auditor San Diego Opera Center Performer San Diego Opera Center Auditor Wigmore Hall.s. Awards Performer Onandaga College “.) San Diego Opera Die Fledermaus Frank Santa Barbara Civic Light Opera I Quattro Rusteghi Cancian Pacific Chamber Opera The Mikado Pooh-Bah San Diego Gilbert & Sullivan Co.” – LA. San Diego Opera‟s Production of Lehar‟s “The Merry Widow” with Beverly Sills Oratorio Requiem Requiem Messiah Requiem “And in These Times” Fauré Handel Mozart David Ward-Steinman St. Classical Guitar – 1 year. .” – San Diego Union Musical Theatre Experience Fiddler on the Roof Tevye (u.M.F.A. .G.” Roger Wagner. California 92129 (619) 555-1223 (parents) Union Affiliations: A. Alexander Rom Piano – 3 years. Jonathan Mack Vocal Coaching: George Trovillo. Engel (u. Classes.F. 1991 B. .S.B. the first 11 ever. Organ – 1 year .Henry Clay Ford Bass . Conductor. Conductor “ . Eastman School of Music. “Polish Act” San Diego Opera/Russian Arts Festival Ballad of Baby Doe Horace Tabor (u. conductor Herod. 1988 Vocal Training: Thomas Paul. Director Tito Capobianco.. “Christmas with the Roger Wagner Chorale.R. Janet Bookspan. Peter‟s Episcopal. . .13 - . sets a new standard in recorded vocal sounds. .S.)/Arnheim Babes in Toyland Father Annie Drake Brigadoon Andrew McLaren San Diego Civic Light Opera (Starlight) Starlight Starlight Starlight Starlight – Best Supporting Actor Starlight Recording. A. Servant‟s Chorus Opera Pacific La Bohème Customs House Guard San Diego Opera “Uniformly good singing from the Mimi.Baritone Home: 3244 Winton Road South #H22 Rochester. West Coast: 134044 Avenida Grande San Diego.” Delos Records 3072. Television.)/Nachum Evita General. Mark Elder. . David di Chiera. New York 14623 (585) 555-2338 home/msg.s. Aristocrat Student Prince Dr.Times P.. to the crusty Customs House Guard” – San Diego Magazine Barbiere di Siviglia Fiorello (u. “H.T.Centro Cultural de Baja California Palomar Chorale International Orchestra. Director Regina Resnick Master Class Elizabeth Schwarzkopf Master Class San Diego Region Apprentice Programs.M.)/Jacob Dorian Opera Theatre My Fair Lady Cockney Quartet/Butler. Gilbert & Sullivan” Rochester Philharmonic Orchestra. Nico Castel. Jane Randolph. “Easily the member of the cast with the greatest comic flair was Henry Clay Ford as Pooh-Bah. Angel (world premiere) Cornelius Reid Master Class Dr.A. . a vastly talented singer. on a scale of 10 for Elder’s G&S . Viola – 5 years.s.” – Mr.A Opera Theatre Experience La Bohème Benoit/Assistant Director Eastman School/Opera Theatre of Rochester Boris Godunov Featured Dancer. . Music: United States International University.s. London 4th Place Metropolitan Opera Auditions Education/Special Skills Master of Music: Performance and Literature. Zoltan Rosenyai. Del Mar Mozart Imperial Valley Symphony Assn. .

Musical Theater Workshops. East Longmeadow. Northboro. cum laude CHURCH EXPERIENCE Interim Music Director. and other music for two weekly services plus weddings. Webster Presbyterian Church. postludes. NY 2009-present • Direct Bethany Choir (adult choir) and Singers in the Spirit (teen choir) • Oversee Children’s and Bell Choir directors. NY • Prepared and performed hymns. Bethany Presbyterian Church. Amherst. Percussion Improvisation.14 - . and special services • Organize and lead two Music Sunday services per year. Choral Conducting Bachelor of Music Education. preludes. and other organ music • Conducted choir and instrumentalists for 1-2 major works per year Organist. funerals. Organ Performance and Literature University of Massachusetts Amherst Master of Music. Music Theory. weddings. Mark’s Episcopal Church. MA • Conducted adult and college choirs • Coordinated all repertoire/musical activities for three weekly masses. and hymns for one weekly mass • Accompanied adult choir Music Director. Deerfield. arranged and transcribed songs for Ad Libs • Developed and taught the music curriculum for a mandatory Introduction to the Arts class • Taught Music History. Notre Dame du Bon Conseil Church. and special services • Established a contemporary music ensemble for the Sunday evening college mass Pianist. MA • Directed adult choir and coordinated all musical repertoire at the church • Prepared and performed appropriate preludes. Easthampton. substitute for Bell Choir director as needed • Manage all aspects of choirs. MA 2006-2008 • Conducted the Eaglebrook Chorus and the a cappella group Ad Libs • Selected repertoire for chorus. and other service music • Accompanied chancel choir on weekly anthems • Led choir rehearsals in absence of choir director Music Director. Eastman School of Music Master of Music. Rochester. rehearsing. First Parish Unitarian Universalist Church. Kempskie 737 East Ave Apt 10 • Rochester. NY 14607 (508) 667-4757 • jkempskie@gmail. including budget. anthems. MA • Played service music and accompanied adult choir CHORAL CONDUCTING/TEACHING EXPERIENCE Choral Music Teacher. Eaglebrook School.com EDUCATION University of Rochester. and library management • Play organ and piano for hymns. including hiring. Webster.Jeffrey T. The Newman Center Catholic Church. and conducting an orchestra • Attend weekly staff meetings and coordinate all musical activities at the church Organist. postludes. MA • Performed preludes. St. postludes. rehearsals. and Eastern Philosophy 2008-2009 September 2010 September 2006 May 2001 2005-2008 2005-2006 1998-2001 1995-1997 . planning. funerals. Piano.

MA. Northboro. Helen Hills Hills Chapel. MA • Pianist. Barre. 2 (CHORAL CONDUCTING/TEACHING EXPERIENCE Continued) Graduate Student Conductor. University of Massachusetts Amherst • Accompanied the University Chorale for rehearsals and performances Additional Accompanying Experience • Organist (continuo). Assabet Valley Mastersingers. University of Massachusetts Amherst 2004-2006 • Rehearsed and conducted Women’s Choir and University Chorale for two semesters each • Selected repertoire • Performed administrative duties • Served as assistant conductor and tenor section leader of the UMass Chamber Choir Choral Music Teacher. UMass jazz combo. Concert Chorus. MA. 8th grade Mixed Chorus. Rochester. MA • Pianist. tenor section leader Conductor Stephen Kennedy Deanna Joseph Deanna Joseph John Delorey Ian Watson David Kidwell 2008-2009 2005-2008 2005-2008 2007 2007 2005 2008-2010 2006-2007 1999-2000 2008-2009 2007 2006 2005 2004-2005 2004 2003-2004 1998-2004 1997-2000 1997-2001 1997 1999-2005 . Marlboro. MA • Substitute: at the following Trinity Church.Jeff Kempskie. Edwards Church. Hatfield. Florence. Northampton. Valley Light Opera. MA 2001-2004 • Selected repertoire for and conducted the 7th grade Girl’s Chorus. St. NY. St. MA • Rehearsal Pianist. Smith College. Quabbin Regional High/Middle School. MA. NY • Rehearsal Pianist. Carver. MA • Keyboardist. St. MA. MA. Commonwealth Opera. and Singers (select ensemble) • Organized. MA • Piano Accompanist. Amherst. Amherst Congregational Church • Pianist. Quabbin Valley Festival Women’s Choir. King Richard’s Faire. Northampton. Paul’s Cathedral Choir Edwards Church. Rochester. MA. Rose of Lima Summer Bible Camp. NY CHORAL PERFORMANCE EXPERIENCE Ensemble Schola Cantorum South Hadley Chorale Hodie All Saints Episcopal Church Choir St. Voices. MA • Rehearsed and performed with the College Chorus on piano and organ • Directed rehearsals in the conductor’s absence Piano Accompanist. University of Rochester Eastman School of Music • Accompany the Repertory Singers on piano and organ for rehearsals and performances • Accompanied the Eastman Chorale on organ for two performances in 2009 Piano & Organ Accompanist. Select Women’s Choir. MA • Keyboardist. Northampton. Northampton. Anne RC Church. First Congregational Church. updated. High School Women’s Choir. John’s Episcopal Church. Mark’s & St. First Congregational Church. Holy Trinity Church. Second Congregational Church. Amherst. Greenfield. Bolton. p. Tavé Hu Rock Band • Pianist. MA. Ashby. Palmer. Greenfield. Spencer. MA. John Cantius Church. St.15 - . and expanded music library and equipment • Established and taught after-school piano classes for elementary school students ACCOMPANYING EXPERIENCE Piano & Organ Accompanist. Ashby Big Band. First Congregational Church. MA • Pianist. MA. Rochester. Northboro.

Once On This Island. Wayne Abercrombie (Choral). pianist. State Fair. Westboro Players Club. and 11 Massachusetts high schools PRIVATE INSTRUCTORS Organ: William Porter. Closer Than Ever. Kevin McGinty Harpsichord: Miriam Whaples Conducting: E. Calliope Productions. Southboro Players. or keyboardist for 20 other productions. and Crazy For You Music Director. MA 2000-2009 • Rehearsed chorus. Estela Kersenbaum Olevsky. played piano or keyboard. 2004 1998-2007 PROFESSIONAL ORGANIZATIONS American Guild of Organists American Choral Director’s Association References available upon request . and Oklahoma Music Director/Keyboardist. Footloose. coached soloists. Worcester County Light Opera Company. Fiddler on the Roof. and played piano for Christmas Carol • Worked with actors from the Actors’ Equity Association • Keyboardist for 2004 production of Aida Additional Musical Theater Experience • Music Director. Worcester. hired instrumentalists. Les Miserables: School Edition. and hired instrumentalists for Summer Drama workshops • Performed in 10 productions. the UMass Theater Department. Black Cat Theater. Hudson. and worked with people of all ages in various musicals and workshops • Performed in 18 productions. Godspell. William Pappazisis AWARDS AND SCHOLARSHIPS • • • Graduate Award/Organ Department Teaching Assistantship (Eastman School of Music) Smather’s Choral Award (University of Massachusetts) Chancellor’s Talent Award (University of Massachusetts) 2001. Charlie Brown. coached soloists. Music Man. Worcester. played piano for Encore! A Musical Review • Played piano or keyboard in 5 productions. including Grease.16 - . Boylston. Sterling Community Theatre. including You’re a Good Man. Foothills Theatre.Jeff Kempskie. coached soloists. Grant Moss Piano: Nadine Shank. Paulina Stark. p. including those by Stageloft Repertory Theatre. played piano. South Pacific. Larry Schipull. 3 MUSICAL THEATER EXPERIENCE Music Director. including A Funny Thing Happened On the Way to the Forum. Hudson Arts Alliance. MA 1995-2008 • Rehearsed the chorus. Damn Yankees. MA • Rehearsed the chorus. Snoopy!. and Once Upon a Mattress Music Director/Pianist. MA 1997-2008 • Rehearsed chorus. coached soloists. Dorothy Ornest. Lanfranco Marcelletti Jr. Anything Goes. (Orchestral) Voice: William Hite.

Rochester. Eastman Community Music School. Rochester. Administrative intern. September 2007 – May 2009. The Sound of Music. June 2009-Present Member of Percussive Arts Society. Mame.com Education Eastman School of Music. music supervisor Professional Affiliations Member of ASCAP. May 2007 – March 2008. Teaching intern. September 2004 – May 2006. President Member of Musician’s Union Local 105. MM Jazz and Contemporary Media. Private lessons. Chorusline. group lessons. NY. Drums and percussion for Annie. Life 101. The Music Man. Miami. Corolyn Jess . NY September 2011-March 2012. Chuck Farmer. Drummer for Seussical. Rochester. NY November 2011-Present. April 2010-Present. Singin’ In the Rain. The King and I. Jazz and Contemporary Media departmental assistant (9/08-5/09) Coeur d’Alene Summer Theater. June 2003 . Putting it Together Spokane Civic Theater. Rochester.A. Spokane. Rochester. Spokane. B. Coordinitor of Freelance and Student Activities The Institute for Creative Music.Christopher David Teal 396 Rugby Ave. Jazz Percussion Performance Employment History Rochester Children’s Theater. Tina .January 2007. NY 14619 (509)230-0688 christopherteal@gmail. NY September 2007-Present. jazz combo Eastman School of Music. May 2005. Graduate assistant for Rich Thompson and Harold Danko. WA. WA. January 2007 to September 200 7. Pippen. Rochester. Rochester. A Year With Frog and Toad America Federation of Musicians. Rochester. Musical Directors Carnival Cruise Lines. FL. July 2011-Present Pegasus Early Music. May 2009. Whitworth University. NY Artistic Director. NY.17 - . Gary Liang. NY September 2011-Present. Spokane.Present Lead Coordinator for Rochester Freelance Musician Forum. Drummer/Percussionist for Seven Brides for Seven Brothers. NY. August 2010 . Showband/Jazz Trio Drummer. May 2004 – August 2006. Rochester. April 2007 – Present Member of Musicians Union Local 66. WA. Coeur d’Alene. ID. Local 66. Drum Set Emphasis. Dave Angus.

” Drum Set and Percussion. 2010. Director of Instrumental Music. Quintopus.” Drum Set. 2009. The Po Boys Brass Band.Morrison. “Cosmic Boogie. 2011. Drummer Dave Rivello Ensemble – Creative/Original Jazz: Drummer The Mighty High and Dry – Original Roots/Folk: Drums and Vocals The Po Boys Brass Band – New Orleans Influenced Funk/Rock: Drummer The Roc City Stompers – Traditional Jazz/Swing Dance: Drummer The Chris Teal Trio/Quartet – Wedding Jazz: Leader. Jazz Studies and Contemporary Media Department. Eastman School of Music.” Drum Set. Jazz Department Head for Eastman Community Music School. Sax Alive. . 2007.” Drum Set.” Drum Set. Booking Agent. (585) 410-9064 Dave Wakely. Eastman School of Music. 2004. (509)747-7936 Professional Performance Experince: Current Member of the Following Ensembles: Quintopus – Creative/Original Jazz: Band Leader. 2008. Eastman School of Music. “Bone Break. “Sax Alive!” Drum Set. Localized Tenderness. 2011. “Voyage to Ornoc. (585) 233-6900 Harold Danko. Associate Professor of Jazz Studies and Contemporary Media. Spokane Falls Community College. Chair.” Drums Set. 2003. “Intergalactic Mustache Parade. DubbleStuff. The Po’ Boys Brass Band. “Pets or Meat. “EP.18 - . “The Upper Hand.” Drum Set. Arranger/Composer. The World’s Oldest Living Saxophone Section.” Drum Set. “Reedin’. (585) 2741440 Rich Thompson. Assistant Professor of Jazz and Contemporary Media. Drummer The New Energy Jazz Ensemble – Contemporary Big Band Jazz: Drummer Cash Back – Country/Johnny Cash Tribute: Drum Set Recordings: New Energy Jazz Orchestra. 2005. (585) 274-1449 Bob Sneider. President References Dave Rivello. Localized Tenderness.

Résumé/Letter Writing for Conservatory Students. Writing an Effective Résumé. 1984. IA: Kendall/Hunt Publishing Co. 1983. Nancy.BIBLIOGRAPHY OF SOURCES CONSULTED IN DEVELOPING THIS HANDBOOK 1990 ASCUS Annual Job Search Handbook for Educators. NY: Career Services and Placement Center. Your Own Way in Music. Dubuque. “Tips for Writing Performance and Composition Résumés”.. NY: St. The Performing Artist‟s Handbook. Wheeler. NJ: Prentice-Hall. Heinz. 1989. Janice. IL: Association for School. 1990. Boston. 1990. 1988. Papolos. 1989. CA: Ten Speed Press. Beeching. Rochester. OH: Writers Digest Books. Angela Myles. Career Planning Today. Janes. New York. Martin‟s Press. University of Rochester.. Boston. Englewood Cliffs. Evanston. MA: New England Conservatory Career Services Center.. Bolles. The 1990 What Color Is Your Parachute? San Francisco. 2006. Inc.. S. Powell.19 - . Randall C. R. New England Conservatory. College and University Staffing. How to Prepare Your Own High-Intensity Résumé. 1990. MA: Office of Career Planning and Alumni Relations. Uscher. . Jean. Oberlin. The Career Skills Publication Series. Cincinnati. OH: Oberlin College Office of Career Planning and Placement. Richard Nelson. Inc. and Han. 1981 Ulrich.