I’m a string player about to graduate with my master’s. I have been taking job auditions, some of which have gone well (running-up, advancing), lots of which I did not advance in. While trying to stay completely anonymous I can say that I was fortunate enough to go to the best schools for free, get fellowships to the best festivals, etc… People around me are winning competitions and orchestra jobs, getting into New World or successful freelance careers, etc… and I think the instruction I received should help me win something soon. I don’t really care where I live or what sort of seat I end up in. Actually part of me doesn’t enjoy what I’m doing anymore. If I could go back and go to normal school and major in Engineering or Econ or something I probably would. I just didn’t anticipate having to practice the same excerpts lists and scales and Bach mvts and audition concerto and bow drills for over 6 years. I am so bored it hurts. I don’t enjoy performing anymore because it feels like no emotions are involved, only cleanliness, anticipating shifts, bow distribution, etc… Even listening to other people is not fun. My brain is constantly in deliberate practice mode, trying to analyze, fix, make better. I can’t just enjoy. I don’t know if the answer is calling it quits or fixing my problem and if so how. If I hadn’t invested so much money and time I’d take the out, but I have. Part of me thinks burnout and boredom will happen in any job/relationship so I’d only be postponing dealing with these issues, but on the other hand a lot of careers offer opportunities for advancement and/or lateral move so you can keep things fresh. I’m an extremely hard worker so I don’t understand how I got to this point where all I’m striving for is doing the minimum amout of practice so as to not embarass myself. I used to wake up at 5am to practice, stay up as long as my goals weren’t acheived, felt upset when a performance didn’t seem to have captured my intimate thoughts about the meaning of a piece. Now I’m just bored and tired. Anyways, I’m just rambling at this point but thanks for sharing your thoughts!
I’d recommend venturing into the world of New Music. It is a whole different experience for the classical musician - creative and exciting - like being in a band. Bow distribution is the least of it - you’d be helping create something that never existed before and share that experience not only with your fellow performers - but with the audience. It can be raw and charged - something that seems to be missing right now for you.
You might also just want to take a break for awhile. Take a trip, go exploring, do something else…
Interesting. For me playing New Music is even worse, because in addition to worrying about executing things right when I know what they should ideally sound like, I have to also think about whether or not the way I’m trying to play them even remotely matches the composer’s intentions. I feel also even more irrelevant and “bullshitty” because the subset of people that actually genuinely like new music is very small within the already small amount of people that enjoy art music. I think the only way I would see myself happy and not frustrated being an orchestra musician would be if everyone I played with communicated together and listened and played well-enough to truly make music and say something at all times, and if I were able to just sit and practice and figure things out at my own pace without being made to perform before I want to, based on someone else’s agenda. Writers working with decent editors are not forced to publish things they haven’t polished yet, and people don’t release commercial products to the general public until each team member has finalized their respective contribution. I don’t know why we are constantly pushed to perform, audition for summer things, seatings, schools, mocks, record, etc… It’s like having a set and insufficient amount of time to craft an email or clean your bathroom. Who wants to live like this? But this is all an unrealistic fantasy. I’d be okay with not being on my own agenda, and being pushed to not present the best of my ability if it was about something I kinda enjoyed but also was just like a job I could comparmentalize.
Edit: Not sure how well I expressed myself about new music, but I’ve felt that a fair amount of composers I’ve worked with were sometimes unclear and unsure about what they wanted, and didn’t know enough about the various instruments to clearly notate things (which is normal, it took me years to understand what goes into the billion various ways to play let say a sforzando or fast 16th notes). And because they don’t have a distinctive style perfotmers can recognize and inform their performances through, the chances of creating a cohesive and meaningful product are very slim, especially because those works rarely get rehearsed enough. Anyways…
It sounds like you’re mainly looking for an orchestra job. Have you considered not auditioning for orchestras and instead working towards building a life as a freelancer, with a teaching studio and projects that genuinely interest you? I know it’s a lot less secure, but it can be done. I realize some of your ability to do this would depend on your instrument-- violin, viola, and cello can do freelancing more easily than bass. But even so, there are many ways to make a life in music.
Another idea would be to take a break from music and try a different career. One of my daughters is about your age. I am watching many of her friends win orchestra jobs, but some are going the freelance route instead. (You can sometimes get teaching fellowships at this stage, too.) Actually, my daughter is not planning to take orchestra auditions, pretty much for the same reasons you are articulating.
Some of her friends are even stepping out of the music field–a few became paramedics, are enrolled pre-med courses, and eventually going to med school. One is in med school now. I don’t mean to highlight the medical profession, it’s just something I’ve been seeing anecdotally.
I’m a firm believer in following your passion, if possible. If your passion changes, and you have the freedom and ability to change your situation, then you should be empowered to do that. At some points in your life it can be more difficult to switch course because you are entrenched in your profession and have, say, a mortgage, a family to support, etc. But you are still young. Even if you have a MM, you can still do something different. Your previous education would not be loss or a waste; it will inform who you are and make you so much richer intellectually, emotionally, and psychologically for the rest of your life. I recently saw a medical specialist who is very highly regarded in her field. She told me that before she became a doctor she was a pianist, and she has a masters degree from one of the top conservatories. I know many professionals in other fields who were highly trained as classical musicians before they embraced their new career. I’ve asked most of them and none regrets the course of their educational life.
I’m not saying this to encourage you to quit music, but rather to point out that you are not necessarily trapped in a career you decided on when you were a preteen (which is the case for most classical musicians, since training begins so early.)
Nordea,
You definitely sound burnt out. And given how you write about it, I don’t think continuing on the path just because it is the path you were on is going to be good for your long term mental health or even long term career. Eventually if you do not love what you do in the arts it will show and it will impact how successful you are. Because somebody who does love it and is passionate about it will be there waiting to take your spot.
I assume you do not enjoy teaching? Is that correct? Are you also tired or uninterested in the current music world and find you are not getting the same type of joy you originally got from being immersed in the music world? If you still have a love of music and the world of music there are so many lateral moves you can make such as going into arts management, working in higher education with the arts, looking at how others are using music outside of the concert/orchestra environment (not just new music but music for Theater and TV and dance)…think collaborations.
Have you traveled? Have you seen the world? Travel can sometimes reignite a passion for something and might be something to consider.
You are certainly not the first to feel this way about music. Many musicians quit because they begin to feel the way you do. You would not be the first musician to master an instrument and then take those skills learned in doing that and apply them to another field. There are NASA astronauts who were conservatory trained, surgeons, lawyers, presidents of college and famous scientists. I would not look at the past years as being a waste of time but rather keep in mind that by doing what you did your brain learned discipline and skill that ought to make learning a new field easier than somebody who does not have those skills.
You mentioned engineering or economics. Have you taken a math class recently? Maybe try an online course to see how it feels to be using that part of your brain. If you get excited by it than by all means give yourself permission to move forward.
My son works with an incredibly talented singer/songwriter/instrumentalist/composer from NEC who is currently applying to law school. It happens don’t beat yourself up about it…you are young and should feel perfectly comfortable listening to your inner self and doing what seems right for you.
My sympathies, Noldea01. If it helps, I can say “been there done that” myself and I’ve watched my own kids with credentials like yours emerge from the nice conservatory cocoon to reality. Somehow, it didn’t really sink in until confronted with it that getting an orchestral job that pays enough to pay rent isn’t nearly as “easy” as being accepted to the most elite schools and summer festivals. I also wouldn’t get too worked up about those around you who appear to have found early successes - New World is frequently not a step to a full-time playing job, some of those orchestra jobs don’t pay well - despite the level of players currently being hired, freelancers may not be making what you assume, competition awards and opportunities (if there are any) can be very short term, etc, etc. In short - music is and always has been a tough field and this can be hard to face when a person has been rewarded for being a top student throughout the training.
My observations are very much the same as @glassharmonica’s. I wish I could offer you advice or suggest a path, but I think there is no one way forward and no easy way of finding the best route to your future. Don’t be so hard on yourself - your experiences, thoughts, observations, concerns are all quite legitimate - and, if it helps, have been experienced by many others. Try to give yourself some time to know your own mind, months or several years if it is possible. If my own experience and those others I’ve observed are indicative, you will know if or when it’s time to move on to another field without regrets. In the meantime, there are still some auditions out there, freelancing gigs, students to connect with, etc. Simply trying to push ahead with the current path may make any more major decisions easier.
Some of the young graduates I’ve known have found administrative jobs in the arts which has allowed them time to see if they can get a viable teaching studio and/or freelancing going. Back in the day, I had one of those “day jobs”, not in the arts; this was eye opening and enriching on many levels after having spent most of my life around musicians. A number, if not most, of the musicians I graduated with back in the age of dinosaurs ultimately found their way into other careers, still having fulfilling lives. Our music training served us well in many ways - not the least of which was the self development, discipline, and passion.
Thanks for your answers! I don’t feel scared too change paths much as skeptical. I feel like the reasons for which I’m not thrilled with my current situation are arrogant and naive, and I need to change my attitude because it’s the source of my issues and would be in any field. I’ve traveled a lot and taken job auditions/gone to festivals abroad.
I really like teaching. I’ve also taught other things than music, like languages and math, and it felt fantastic to help people understand things and give them the tools to think how they want to. But I can see myself getting upset after 5 years that I’m teaching the same material. Yes, I’ve taken psychology and advanced math courses recently. It was fun, but who knows if I’d like it after 10 years. Also maybe having an orchestra job and not practicing the same list everyday and mock auditioning myself all time will be fantastic.
@Noldea01, try to find some professional orchestral players to talk with about their jobs. The career may not be what you are envisioning - music directors are not all respected and loved, other players are human beings and some aren’t pleasant folks, orchestra’s financial woes may well impact the players’ pocketbooks, etc, etc. I’ve known many, many, many divorced orchestral players from the major symphonies. Not to be dramatic or too discouraging, but orchestral playing does frequently become a job, not always an artistic experience. You might want to be sure this career is what you want to pursue.
I’ve had some of the same thoughts on teaching as you - until I realized that, for me, the challenge, growth and fun was to enter each lesson ready to take on the individual(s) in front of me - not to teach the “subject”. I’ve found that imparting the material can be infinitely rewarding if viewed from the student’s perspective. I’ve enjoyed measuring my personal growth in my improving ability to understand my students’ needs - I can always get better, each student is a new opportunity. Teaching has increased my creativity in ways I never would have predicted.
I agree with others, I think you are burnt out. As the parent of a string player/student, I understand where you are coming from, one of my criticisms of music teaching, especially in strings, is that it is so focused on ‘playing perfectly’ that it often seems to forget that this is music, an art form, a passion, and it can be a struggle because so much of it seems to be in the rote practicing, making it perfect, and for someone who actually cares about the music itself that must be a struggle. I know exactly what you mean, from the other side of things, listening to our son practice, where he is constantly stopping to get a section right, a note, it is hard to listen to, it turns music into a bunch of pieces, and it makes it hard to realize it is music.
One of the problems I think reading your post is also endemic, you talk about people ‘winning’ things, as if music is all about competitions and such and that there is this path that if you do the right thing, if you get into the right school, if you get into the right programs, that means you are ‘the best’, and with an art form like music that is problematic, because there is a lot more to it then that, since it is as you point out supposed to be about expressing music. Put it this way, a lot of the people that obsess about ‘winning’ never go anywhere, because they get on the merry go round of linear thinking, that winning competitions somehow is the ticket to ‘success’, as if there is some thing that if you get enough competition wins, enough festival spots, you will make it…and conversely, for those who don’t win the competitions, don’t get into the big festivals, there is the sense they are ‘failing’ when in fact they may not be.
One piece of warning, from an old fart who has been working for 30 years now in the corporate world, be careful about assuming how interesting it is in the work world, how if you get bored there is always that lateral job shift, how you aren’t ‘locked in’ like you are in music. It isn’t always like that, and while I have worked some very interesting jobs, you often get as locked into things in the real world as you are seeing with music, almost any job, for example, has the dog work, the things you would rather not do, and while most companies claim that they offer lateral moves, the ability to move up and around, that is often much like the claim that they respect work-life balance. That doesn’t mean there aren’t opportunities in the ‘real world’ to do new things, to advance, but rather that it is easy looking from the outside to assume it is easier ‘there’, and it isn’t.
One question, other than doing the ‘prescribed track’, ie head down in a practice room x hours a day, lessons, chamber, orchestra at school, the summer festival route, have you done anything outside of that with music? Have you done any freelancing, picking up gigs (paid or not), to see what it is like to do it on the ‘real’ world (other than auditions for orchestras and such)…it can give you a different perspective on music, the music world and music teachers are teaching in many ways to an ‘ideal’ world, where all their students are training to play carnegie hall or be in the Berlin Philharmonic, how much have you been exposed to the other ‘real’ world? It could be you would find freelancing and teaching and such a lot more interesting than the grind of what you have gone through in music school and the whole dance of the competitions and summer festival world. Finding and doing gigs can teach you a lot, because that is the trenches of the music world, it requires networking, it requires working with people and other skills, that you might find interesting…and in the real world, even with orchestra positions, that kind of experience can be huge, because it is part of being a musician, it is something that IMO music schools are just starting to wake up to, many of them are still in the ‘classical music’ bubble, even now that they are offering courses in entrepeneurship and the like, the main focus of those schools is still very, very narrow and limited. The other thing about doing those kind of gigs is you may find the passion for actually doing music that is ‘real’, that isn’t an audition, or a summer program orchestra or chamber group, or a school group. In a sense, what you might have is the old "losing sight of the forest for the trees’, that you want to be doing music, not constantly practicing to be able to do music.
agree with others, I think you need some time to get perspective, to step outside what you are doing with the obsession with practicing and getting into the mainstream ‘music’ world. Taking some time off to travel or do other things might help, while you may not want to drop music entirely (ie practicing), maybe getting another kind of job at this point would give you some perspective. Or perhaps try freelancing, and seeing what perspective that gives you about music. It could be stepping back will give you perspective, and you will see that there is a lot more to music than your musical training gave to you and get a focus on your passion, or maybe it will make you realize music isn’t for you, or some hybrid (ie you decide to go another path, but still play music, do gigs on the side, play with others in chamber music, etc). One of my chief complaints about the whole music training world, the schools and the summer programs and the competitions, is that I don’t think it gives enough of a perspective on the real world of music or what it is about. One of the advantages my son had was because of the people he was around growing up, because of friends he made who had parents who were working musicians, and teachers and such who were, he gained perspective on the reality of that life, and it kind of balanced what he was seeing in the music programs and the like that was projecting a different image, that the perfectionism of the music school universe was not necessarily the reality of the real world of music. A lot of the musicians he got to know talked about this, they called it the Juilliard syndrome, where kids went to the elite schools, were taught by their teachers that playing perfectly was the big deal, emphasized competitions and getting into the elite summer programs, that being ‘the best’ was everything, and many of these kids graduate and then find that they are ill equipped, that for example the idea of other musicians as ‘competitors’ meant no one wanted to work with them, the lack of doing gigs, of networking, meant they ended up kind of lost (and I am not singling out Juilliard with this, it is true of the music world as a whole I believe). Some of it, too, is that music schools make it seem like if you aren’t soloist material (or your instrument isn’t a solo instrument), that all you can do is compete for orchestra jobs or maybe chamber music, that this is the ‘path’. A lot of musicians don’t like orchestra, for the reasons you and GlassHarmonica mentioned in her post, that it is too repetitive, too rushed, to really feel like it is making music (others like orchestra).
The other thing I would say is you are young, I know it is easy to feel like ‘everyone else’ is already achieving, whether in music (those who might have got into orchestras and whatnot), or on a career path, or in professional school, but you are I would assume 23, 24, and there is no real timeline to find yourself, especially at that age. If you aren’t in an orchestra job or in a career track by that age, it isn’t the end of the world, it is still the beginning:). Take some time to get perspective, see if you still have the passion for music (or whether you feel like you were pushed into music because you were talented), and if not, figure out what you have the passion for. Nothing you have done up to now is wasted, a life is really a summation of the things you have done and experienced. The training you have done in music, the ability to focus on details (many of which are so small most other people wouldn’t see them), the ability to work hard, to work self directed (like, for example, practicing when no one is telling you how much to practice), the pathways burned into your brain by doing music and things like ear training and theory, will be with you, as hopefully will be a love for the music (hopefully you went into music because you love music, not because you played an instrument well and saw that as your vocation:). You have both a bachelors and masters degree, which can open doors in a lot of places, and if you decide you want to go to med school,you can take the pre med courses you didn’t have and then go to med school, or you can likely get a master’s in something else, that background is not wasted. Even uptight, narrow focused places like Goldman Sachs recognize the value of music students, a lot of companies are looking (or at least claim to be looking) for students from ‘unique backgrounds’ and if a place like Goldman, which is probably as rigid a place as you can find, is thinking that, it says something, believe me.
I wouldn’t quite music just yet, I would encourage you to take some steps back and breathe, maybe try something different with music then competitions and summer festivals and orchestra auditions, or try something entirely different like travelling, working some kind of ‘real’ job, doing gigs, volunteering as a music teacher working with kids from underprivileged area, and see where it takes you.
I just want to say what great answers you have gotten here. These posters know the field and are wise counselors!
I sometimes see this kind of crisis as a developmental stage, so to speak. Since pre teen years, no doubt, you have been on a certain path, one originally supported by parents and teachers, and have not really had a lot of time to question it. It is an intense path. I am wondering if perhaps you could view your current dilemma as a positive step, a natural step, that will be painful but may ultimately mean a more fulfilling path, one chosen only by you, that may very well be music but could be something else plus music.
One of my kids is a dancer. It occurs to me that you are in the position of those who aspire to well- known ballet companies. Despite years of training, she is finding happiness studying to be a therapist, works in holistic health, and dances in a small company in the city where she lives, a company that is high enough quality but low stress, congenial, and rehearses only one morning a week (except just before performances). Of course, another young person who origiinally studied with her IS in a big company, and another gave up dance to be a vet. There is such a range.
I wonder if you would consider counseling, perhaps someone who knows music, to sort this out. I also don’t know if, apart from burnout, whether you think you might be a little depressed, which can be treated in the short term if it helps with decisions. That might be a little out there, but just wanted to mention it.
So you have tried courses in other areas, you like teaching. I imagine there are some financial pressures but wonder if you could volunteer or intern somewhere. I also know some musicians who have done outreach, getting themselves grants to go into schools. There is usually a hook, like a link to history, or a focus on one composer, that kind of thing.
Finally, a doctoral program might be getting in deeper but I know one violinist who is going to an interesting program that integrates music with other studies, and might be a transitional step to teaching.
Reading about your situation, I am really so struck by the positives in your favor. That training, work ethic and discipline are respected in so many contexts. You WILL figure this out. Get some help whether a teacher you are close to, fellow musicians, or a counselor and think of this as a time to explore possibilities. Keep us posted because your situation reflects a problem for many and in time you can maybe help others by posting what you end up doing 
p.s. came back to comment that you are extremely articulate…this will serve you well no matter what you do
Thanks so much! Yes, I have done a lot of freelancing, especially now around Christmas, there is so much work around. I’ve also subbed in orchestras, joined chamber groups for bigger works, etc… I enjoy emailing people, scheduling things, maintaining my website, etc… There aren’t that many things I don’t enjoy doing. Anything can be fun. I just dislike it when things seem fake and like a masquerade. I’m not a competitive person, I don’t compare myself to others and try to keep it friendly or otherwise avoid people that aren’t. But I do need money, which is why I need to “win” stuff. I guess I just need to find balance and understand which compromises I can live with. Right now everything feels like one, so I should try different things, starting with the easiest to carry out right now, which would be practicing and listening differently.
I’m going to throw in a few realities about freelancing.
First, there are a lot of freelancers out there who do not, have never and will never play as well as you do. Guess what? The audience probably doesn’t know the difference. Reasonable competency at getting the notes played and reliability are often more important than advanced artistry in getting gigs.
You will also be entering a field where there are already connected players. Be nice, be friendly. This can also be more important in getting gigs than your ability vis a vis any one else’s. I mention this as I’ve observed new grads being quite surprised that the gigs didn’t just land in their laps as they did when they were at conservatory.
Second, a lot of gigs pay very poorly. I have never seen these poorly paid gigs lead to something bigger. I suppose if there are many of these low paying gigs close in proximity, in theory a player could make something worth their time, but I’ve never seen it happen. I’ve asked a lot of people about the value of accepting these low paying positions and their experience also says “not worth it”. Comments on different experiences by others are welcome - I’d love to be proven wrong on this one.
Third, unscientific observation, but it seems that freelancers I encounter that seem to be in this for the long term have often attended smaller schools and have limited experience with more elite situations. I’m not sure what this means, but I throw it out - differing perspectives and observations welcome. (I don’t know the east coast freelancer scene well - different areas of the country could be quite different.)
Fourth, my kid’s jazz friends seem to find longer lasting situations than the classical player’s one off gigs. Definitely, the jazz players that we know do not have elite training. Doesn’t seem to matter.
Fifth, you may have to approach gigs as “entertainment” rather than as artistic enterprises. Including dressing in costume and playing Broadway, strolling strings, gypsy, etc… Great fun if you are up for it, not so much otherwise.
Six, considering regional and per service orchestras, freeway philharmonics are called that with good reason. It can be hard to combine a teaching studio or day job with the intermittent demands of driving several hundred miles for rehearsals and the possible need to stay overnight or for several days in the city where the per service orchestra is located.
Seven, even if invited to fly off to a reasonably decent orchestral or solo job, it may turn out to be a break even or even loose money situation.
Eight, contractors. Hope that you can get in with a good one and stay there. Expect to be offered a lot of stuff you don’t want and hope they keep calling. Availability and willingness to take something fairly undesirable may help in these situations - or not. The future is hard to predict.
Nine, freelancing is a route some manage to make work. Just don’t think it is easy…
By the time I posted the above, OP was back and has clearly had freelancing experience. Take my comments as thoughts for the longer term, post college/conservatory years.
One of my dear friends, a terrific musician and FREELANCER, was able to buy his first home at the age of 50. This is one of the more active guys in my area.
I don’t think of freelancing as easy, hope I didn’t sound like I did. I just drove 2 hrs both ways to a gig that paid almost nothing, and the orchestra I was subbing with during undergrad was in a different city, so I wouldn’t get home from that until 2am on school nights. I think it’s fairly easy to get extra gigs when in school, but as primary income when I’m in my 30s I would not want that, especially because having a family is important to me and I want to become as financially stable as possible in the next few years.
No, no,@Noldea01, you didn’t come off as if you thought freelancing would be an easy enterprise. Freelancing was just being mentioned by several posters - and it is often an important part of a musician’s income. I just wanted some of the actualities of trying to make a living freelancing to be thrown out for consideration. Obviously, you are very well aware of the reality.
I’m dead serious here - a couple of my kid’s friends have married professionals in lucrative fields. Not that I think they did this deliberately to support their music careers, but it does help take the pressure off. This is not a suggestion for you!
You sound like my own kids coming out of school. Very responsible thinking - which sort of makes things harder. It does take time to get going whether it’s winning an audition, building a studio or getting your name out as a go to gig player. I didn’t recognize this in my own years - all my mentors and “idols” were mature adults and I hadn’t seen them struggle to establish an early career. Don’t beat yourself up. And, don’t look too hard at the handful of your acquaintances who have managed to win a terrific job just out of school - they aren’t the norm, although this can be hard to recognize when they are students and friends you’ve been in school with.
I wonder if academia is a possibility as a safe harbor for instrumentalists (as it is for composers). Just throwing it out there for those who know more than I do about the instrumental path. (To return to dance, this seems to be happening more with dancers and choreographers who pursue PhD’s, get funding and then teach when they finish, along with continued creative work.)
No safe harbour or sure bet that I’m aware of. I do know string DMA’s who are adjuncts with little pay at smaller places. Not enough money to have just one job. Others who may be the only string faculty member in charge of orchestra, cello, shoulder instruments and double bass - no matter what their primary instrument. Or teaching theory as well as instrumental. Positions may not be tenure track and at schools that don’t attract the type of music students these DMAs are used to encountering. Some exceptions that I’m aware of, but not the norm to find a great college position right after that DMA is awarded. It sometimes helps to get hired if the player has won major international competitions, with or without the DMA.
Its not uncommon any more to DMAs from great schools listed on the faculty of community music schools. Nothing wrong with community music schools at all, but there often aren’t enough students for any individual teacher to have a full time position at just one place.
I can’t really add anything to the great comments above about different paths to consider. I can just add a few general comments.
Words matter. Should I “quit”. No. You are young and perhaps burned out. Maybe you just need a break.
And every job sucks after 10 years. Not to worry there. Whatever path you choose you will struggle. But some struggles are more worth it than others.
I hope you have the courage to be honest with yourself and with others - and give yourself a break if the answer right now is “I don’t know”. You’re still young. You don’t have to have it all figured out. You can dabble in other things. But “quit”? Completely? No, not yet. Quit your current path? Step off for a time? Sure. Why not if that is what your gut tells you.
Oh I forgot to add one of my favorite comments to my D which causes a big eye roll. So I know it’s good!! In the words matter category: I don’t go to my passion every day I go to my work. There’s really not a lot of passion going on there (that I know about). But a lot of work.