I. Essential ingredients to achieving better communication among musicians to enhance the performance of music.

A. Communication begins with your own positive attitude.

• Mutual respect is essential. All musicians are equally vital to the ensemble.
• Egotism or the demeaning of others is destructive to the creative process.
• Use diplomacy - assume all musicians are as sensitive as you are.
• Don't get defensive or feel you have something to prove.
• Have patience and clarity - don't expect clairvoyance from anyone.
• Remember to compliment your musicians; balance your criticisms with positive reinforcement.

B. Don't assume anything.

• Assumptions create expectations and anxiety, which surely lead to disappointments.
• Give your musicians or vocalists the benefit of the doubt that they might know their craft, but be prepared if they don't.
• You will find outstanding talent where you least expect it.

C. Find the musical common ground.

• If possible, find out the musical influences and strengths and weaknesses of your fellow musicians before preparing your program.
• Take the time to find out what material each musician likes to play or solo on. Inclusion is a sign of respect.
• "The better you are as a musician, the more people you can play with." -Red Rodney.

D. "The Show's The Thing".

• Music should be spiritually and intellectually fulfilling to you, but to its consumers, it's entertainment.
• Most likely, people have paid money to have you entertain them. You must develop the discipline to leave your personal problems or disputes with fellow musicians off stage.
• Do not draw attention to mistakes that you or others may make while you're on stage.
• "Don't look at me in that tone of voice!" -Arnett Cobb.
• Mistakes will happen, so don't panic. Turn the lemons to lemonade by developing new ideas.

E. Listen to each other.

• Music is best as conversation, not as group monologue.
• Give space a chance. You can't hear the band as a whole if you're constantly playing.
• Don't play on autopilot, react to soloists and watch the leader.

F. Create a feeling of ease.

• One person's inappropriate attitude can disrupt the whole ensemble.
• Train yourself to concentrate all your emotional resources on the music and shut out external emotional distractions.
• If you have a problem with a fellow musician that cannot be resolved diplomatically, wait until the evening's performance is over before you address it. Never try to resolve emotional issues on stage!

II. Essential Topics For A Vocalist As Bandleader:

A. Running a rehearsal

• Always start with an easy tune that everyone can groove on.
• Always have a plan and know when to move on.
• Problems for vocalist at jam session.
• The difference between blowing gigs and shows.
• Payment for rehearsals as an issue.
• Warn the trio if you backphrase - "Don't wait for me!"

B. Charts

• Charts must have changes, melody and a good road map. How much is too much?
• Know your charts. Charts should speak for themselves, but you should be able to point out all the important elements to your band.
• Make sure that the charts are well sized and spaced; could you read it in a dark club?
• Notating rubato sections.

C. Song list

• Prepare a master list of all your songs with their keys and tempos.
• Choose some standards that you can sing in the original keys (an aid to sitting in).
• How to prepare a set list.

D. Directing the band

• Counting tempos clearly (take your time).
• Using hand signals.
• Importance of setting the intros and endings
• Length of solos (is one enough; are six too many?)
• Improvising the form.
• Never be afraid to ask for what you want or need.

III. The Avoidance of Train Wrecks (if someone gets lost)

• The chording instuments should play melody lightly.
• The bass should play more roots.
• Vocalist should lay out and give a signal for the next section.
• Out of a long drum break, start trio with a vamp to cue the key.
• Watch reharmonization. If used then cue opening pitch of melody before vocal enters.