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(Re-edited version of Chapter 21 of the Keywheel Theory System.)
Music is the single art form that allows a
person to achieve the highest degree of discipline, creativity,
integrated intellect, and physical coordination. Because there
is no limit to the conceptual learning process a musician may
continue to improve in all of these areas. Playing music also
presents a person the opportunity to achieve balance --balance
between mind and body, between the left and right brain, between
structure and creativity, between praise and criticism, between
getting down on yourself and over-estimating your abilities, between
work and fun, between business and art.
INNER GOALS: FOCUS AND RELAXED CONCENTRATION
The inner goals of perfect
practice (Chapter 20) are focus and relaxed concentration
. A musical exercise or difficult passage in a song is an opportunity
for one to confront and overcome frustrations and to advance one's
focus. (Musical challenges are then a blessing instead of a curse!)
Focus is achieved
through discipline 1 (see footnote), thought, and control and is at all times controlled
by the will. (One always chooses whether to focus or not to focus.)
Discipline is needed to direct the will, thought is needed to
keep the outcome in mind, and control is needed to achieve the
outer goal (the music). In time (with perseverance) this will
lead to a final mind-state known as relaxed concentration
2. Once achieved,
this semi-meditative mind-state will manifest itself in other
endeavors 3.
1 The adage "no pain--no gain" does not only apply
to physical exercise. Focusing may create a mental "strain",
especially if the mind isn't used to it.
2 Many people consider musicians as having a "mystique"
or "energy". Mostly this is because people think musicians
are mysteriously "gifted". However, the hidden truth
of these allegations lies in the musician's ability to focus and
concentrate above that of non-musicians.
3 Another term is "the zone", that mental state that
athletes refer to regarding a peak performance. (Not to be confused
with the "O-zone" or "zoned-out", the state
of UN-focus.)
Playing music is like a martial art but involves
smaller more precise movements. Playing a song or exercise is
like a "kung-fu" fight in that each note is a "blow"
from an opponent which must be fended off (played successfully).
The faster the notes occur, the more relaxed and aware you must
be. (If you slip out of focus the blows will land on you, so use
the "force"!)
QUIT TRYING
The word try implies failure. Rather
substitute the word effort . Effort with awareness will
lead to success. Awareness (what is really happening?)
involves analyzing your practice then self-correcting when necessary.
(Does outcome equal intention? If not--why not?) When frustration
occurs take deep breaths, relax, and be aware.
Your self-talk while you practice has a major
influence over the quality of your outcome so don't be too hard
on yourself. Over-frustration is caused by gremlins sitting on
your shoulder saying you are a klutz. You are not a klutz, so
kill those suckers with focus, self-trust, and awareness*. Allow
yourself the freedom to make mistakes and the mistakes will soon
vanish.
* For help with over-frustration I recommend the book The
Inner Game Of Music (Barry Green & W. Timothy Gallwey,
Anchor Press). If you can't find it then The Inner Game Of
Tennis , The Inner Game Of Golf , or Inner Skiing
by W. Timothy Gallwey all deal with the same natural learning
skills.
EXAMINE YOUR BELIEFS
"THOUGHTS DETERMINE ATTITUDES--ATTITUDES
DETERMINE FEELINGS-- FEELINGS DETERMINE BEHAVIOR--BEHAVIOR DETERMINES
SUCCESS"
Let's start with an underlying belief of all
successful people, musicians included: ACHIEVEMENT IS IMPORTANT
. Just how important it is to you can be measured in direct proportion
to your effort to achieve your goals*. This signifies the importance
of RATIONAL EGO which aligns its actions and emotions with
it goals. (As opposed to irrational ego which may manifest as
any combination of non-confidence, arrogance, laziness, and envy.)
* Wanting to succeed is a natural state. Observe the small
child--from taking their first step to tying their shoes for the
first time they seek approval for each accomplishment from their
parents. (Unfortunately we are currently living in a society that
downgrades personal achievement and instead promotes envy. It
takes steadfastness and independence to overcome this external
pressure.)
If you are following the steps of perfect practice
with few results then you could be self-sabotaging. Self-sabotage
(fear of success) is caused by underlying beliefs such as: "I'm
not good or smart enough", "I don't deserve to be talented",
"Others won't like me if I'm too good", "This intellectual
stuff is for the birds", "My dog ate my homework",
or for whatever reason. Although these personal myths may be traced
to different sources ask yourself the following question: "Am
I consciously choosing to believe this?" Answer: Probably
not. Short of going to a therapist (God forbid!) personal myths
are difficult but not impossible to overcome with introspection.
There are hundreds of books and self-help courses on overcoming
personal myths but really boils down the the philosophy of Joe
Friday.
PROJECTION
Projection is
a self-fullfilling prophecy. You must see yourself in the near
future being successful at your immediate musical goals. You must
also see yourself in the future being successful at your long-range
musical goals.
LEARN FROM OTHERS
Learn from other musicians. Don't be shy to
ask for advice, insight, or to ask someone to show you a "lick".
(Most musicians are flattered by these requests.) You can allow
yourself to feel jealous of their ability because that means that
you want the abilities they have and the only way to have them
is to earn them yourself. However, envy (I hate them for
being so good!) is an emotional short-circuit that leads to certain
failure.
Sometimes accomplished musicians are perceived
by others as arrogant. Although a few might be, this demeanor
is usually an outward manifestation of their internal focus and
striving to improve.
THE GAUNTLET
As musicians develop so do their opportunities
to play with other musicians. These situations are important for
improving musical skills and usually come in stages. At first
you may play one on one with a friend. That might develop into
a jam session with several musicians. Occasional semi-professional
gigs (mainly for fun) might follow and before you know it you
will be playing professional engagements (mainly for money--and
fun). Each of these settings can pose new challenges for musical
and personal growth.
All challenges can be met with relaxed concentration
which originates with perfect practice methods. (Stay focused
and "within yourself".) Feedback from others may come
in the form of indifference, criticism, praise, patronizing, envy,
admiration, etc. Criticism and praise are sometimes constructive--consider
comments and their source.*
* I play primarily to meet my own standards which are set pretty
high. Although it is nice to be recognized for accomplishment
I generally don't care what other people think--except the people
that hire me.
Playing for an audience creates another echelon
of emotions. For some musicians emotions are heightened so much
that they throw up before they go on stage. This is fairly common
among classical soloists. (I have played with musicians that had
to urinate immediately before they went on stage!) Stage fright
can be overcome by relaxed concentration (traced to perfect practice!)
and anxiety can also be controlled by deep breathing. Reaction
to criticism and praise are also heightened at this level so more
objectivity is needed to consider comments and their source.
Playing in a group presents its own set of
difficulties. In a successful group musicians must be responsible
as they are interdependent upon each other to achieve a common
goal. It is enough just to form a cohesive unit with rational
egos let alone irrational ones. Musicians with bad attitudes usually
have questionable motives ("I'm in it for the glory",
"I like to get high", "I want the chicks",
"I'm cool because I own a 1952 Stratoblaster", etc.).
Depending on your access to other players you may want to learn
what you can from these situations then move on when the opportunity
arises. (Or, like dandruff, get rid of the flakes).*
* I would rather associate with musicians that share my musical
values even more than those who share my musical tastes. For social
playing I also like to play with musicians that may not yet be
accomplished but are on the permanent path of self-improvement.
By the time a musician becomes a professional
(making his living from performing, writing, recording, teaching,
etc.) he has usually run the aforementioned gauntlet, which weeds
out the not-so-serious from the serious. It then becomes a matter
of competing with other musicians in the market. Now the gauntlet
has transformed to a higher level.* (Kind of like a video game!)
Music now becomes a business as the stakes take on a monetary
value.
* The exception is if you are fortunate enough to be in that
high-charisma low-talent rock band that gets picked up by a large
recording company and thrust into stardom with a megabucks recording
contract. (HA HA!--Keep trying!)
There are many books written about the music
business, each covering subjects as varied as playing in a group,
writing songs for submission to publishers, recording industry
ripoffs, how to make money playing in schools, etc. There is also
the School of Hard Knocks. Regardless of where your interests
lie I offer the following advice to all would-be professionals.
1.) BE COMPETENT: (If you have to be reminded
of this then you will fail for sure.) This includes showing up
on time for gigs and rehearsals. (A band member who constantly
shows up late lacks the respect for the other members who waste
their collective time waiting for him.) Also, put your money where
your mouth is--invest in good equipment. Unless special arrangements
are made, being a good band member also includes helping haul
and set up equipment. (Everyone benefits from the p.a. system,
even if you don't sing.)
2.) LEARN TO SING: Unless you play classical
music or jazz (both very narrow markets) singing is always the
focus of attention in most musical groups. The more things you
can do the more valuable a commodity you will become. Be willing
to learn back-up harmonies and when it comes to singing lead,
well, you don't have to be a great singer to fool the public!
3.) PLEASE THE CUSTOMER: (If you don't there
is always someone who will and they will get the job.) Play the
right material for the occasion, dress accordingly, don't take
overly long breaks, don't drink while performing, avoid lewd gestures,
etc. (There is, however, going to be the occasional "gig
from hell", "club manager from hell", "recording
session from hell", "student from hell", "student's
mother from hell", etc.*)
* If you have learned to avoid these then you have fully run
the gauntlet!
3.) REMEMBER--"WORD SPREADS": It
doesn't matter whether you perform, write, record, or teach--word
gets around among customers, potential customers, agents, and
other musicians. (Ninety percent of my clients come by word-of-mouth.*)
* Speaking of which--be sure to tell all your musician friends
to buy this book!
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