Tuning Slide 5.30- Beyond Mediocre

Weekly Reflections on Life and Music

If any of you have a desire to be mediocre,
you will probably find that you have already achieved your ambition.
― Hugh B. Brown

Fortunately, many people do not set out in their lives to become the most mediocre person that they can be. So the above quote lacks some reality. I have to admit though that I have met people who are completely satisfied with where they are at the moment and are making no plans to do anything about it. I guess that such individuals would qualify for planning for mediocrity. I guess it all depends on what amount of work you decide to put into it. The less you do, the more mediocre you become.

Another quote from the book Catch-22 is perhaps a better or a more realistic one.

Some men are born mediocre, some men achieve mediocrity,
and some men have mediocrity thrust upon them.
― Joseph Heller

Mediocre can be defined as:    

• being of only ordinary or moderate quality; neither good nor bad; barely adequate. (Link)

Blah. Boring. So-so.

Unfortunately, there aren’t many of us who can be good to great at everything, which means that in some things we do we will be, by definition, mediocre. I know how to swim, but I am poor at it, I’m a mediocre swimmer. I know how to play the guitar, but, at best, I am mediocre. But that does not mean that I have to be mediocre at everything I so or in all areas of my life. Some of this also changes with age. I used to have better eyesight than I do now; today it is mediocre.

On the blog of Music Think Tank, I found a good tongue-in-cheek set of “tips for the typical musician". The author is talking to those who want to get into the music business and many of his tips are business-related. I went through and picked out some of them that might fit most of us. He introduces them this way:

For those of us who embrace shades of mediocrity, here are some tips for becoming a typical musician. (Link)

◆ Practice
⁃ Practice one hour a day. However, feel free to skip practice if there is something more interesting going on.
⁃ Play the same piece over and over again. Never try to deconstruct the music and figure out how and why it works.
⁃ Convince yourself that taking music lessons is out of the question since all your favorite musicians were self-taught.
⁃ Use only tabs and chord charts to learn new songs. Never try to figure it out by ear, it’s simply too frustrating.

◆ Gigs
⁃ Allow your instruments to decay to the ultimate state of disrepair. Only replace broken parts after you have repeatedly cut out during several shows.
⁃ Never listen to fellow musicians on stage. Stay entirely focused on yourself.

◆ Personal
⁃ If you play with others, vaguely explain why you’re the most valuable member of the group and thus most group rules shouldn’t apply to you.
⁃ Get jealous of all fellow musicians who find their way to success before you do. Make sure to complain to anyone that will listen about how much they suck.
⁃ Convince yourself that if you just keep hanging on, another few months, or another year, you will make it. Never stop to take a critical look at your music or live show to see where you are going wrong, or how it can be improved.
⁃ Close your mind to other genres of music because, quite frankly, it sucks.
⁃ Always do the bare minimum required.

I would add one more to the personal- Know that you are the least valuable member of the group and have nothing new or important to offer. Like the quote at the top, if you do that you will turn that into a self-fulfilling prophecy.

In any case, the author, Mike Venti, ends the article by getting to his obvious point.

◆ Recognizing this type of destructive behavior is one of the first steps to getting rid of it. Never settle on being typical. Only by being atypical will you command the attention you truly deserve.

A couple of examples from my own journey come to mind. First is that changing my practice routine and mindset really did make a difference in my playing. I was a mediocre trumpet player for years- even when I was good at what I was doing. I remained mediocre in that I never got better. I had no plan, no direction, no idea in any way to change what I was doing. Until I got some direction- and challenge- nothing was about to change. I even remember after one Sunday morning worship when I had played a duet with the organ, I was grateful that I hadn’t made as many mistakes as usual- and I didn’t know why I was so good at making mistakes.

Another was not taking as good a care of my trumpet as I knew I should. Once in a while, I would take it in for a chemical cleaning, but anything more on my part, well, not so much. At one of the Shell Lake Trumpet Workshops, I remember one of the instructors taking the tuning slide out and looking down the lead pipe. I don’t remember the exact words he used to describe it, but they were basically that I would never get a good (i.e. Non-mediocre) sound out of that horn. I cleaned it that evening and have tried to remain better at that. If I don’t take care of my instrument, how can I expect it to play well?

One other step toward mediocrity is to expect it to happen overnight, or at least within a reasonable time, say three weeks to a month. I am now well into the sixth year of this renewed and revitalized trumpet journey. It was only at the end of five years that Mr. Baca basically said, now you’re ready to work on some new stuff. In fairness, Bob, that isn’t what you said. It is what I heard because I knew something had changed in my playing and I was at a different level. Originally it was when I heard myself playing on a video six or so years ago, that I realized how mediocre my playing was. Hearing that I was ready for something new to work on last summer was reaffirming what I had felt- I was making progress. Maybe I wasn’t typically mediocre anymore.

Tuning Slide #5.28- Improvising- Need to Know

Weekly Reflections on Life and Music

What all my years in improvisation have taught is that - if you’re going to grow as a performer - you have to try some new things. You’ve got to be willing to take a few risks.
— Jack McBrayer

Last week I riffed on my thoughts about improvisation. It is something that I have wrestled with for years and only recently have begun to feel some very amateurish progress. For me, improvising is how I face life- or more to the point- it is really how many of us live life. We face daily diversions and things that are not part of our plans. Wing it! Take it and improvise. As I often do when working on a subject I went Googling my way around the Internet and found a post by Eric on the web site Jazz Advice: Inspiration for Innovators. It was 20 Things Every Improviser Should Know. I went through and picked out the nine things that caught my attention. My thoughts are in italics.

◆ Keep going back to the fundamentals
When it comes to improvisation, your improvement stems from the basic building blocks of musicianship…. Start by building a solid foundation of technique, ear training, and language and go from there.

I am amazed at how much going back to the fundamentals of trumpet playing has helped me. They are part of my daily routine. It is easy to skip when I want to work on something new or different. I better not. It’s almost as unhealthy as skipping the day’s practice.

◆ Talent is great, but skill and perseverance win every time
A natural affinity or ability for something is great, but to succeed at improvisation you need to tirelessly develop your skills day in and day out.

Daily practice. What a concept. And what’s more, it actually works- if done with plans and goals and direction!

◆ The process of improvisation seems like magic
It looks like divine inspiration when people are on stage creating these amazing improvised solos out of thin air. The truth is, this is all just an illusion to the untrained eye (and ear)… When you hear a great solo, you’re really hearing the result of hours upon hours in the practice room…. Anyone that sounds great has definitely put in the time.

I still remember the first time I realized that all those great solos on all the great jazz recordings were improvised. Wow!!! Then to listen to a live performance recording of one of these great numbers and find that it is significantly longer with a different solo- Double Wow!!

◆ Improvisation can be as serious or fun as you want it to be
Take a look at your musical goals. If you want to be a great improviser then practicing, transcribing, and listening to music should be at the top of your daily priorities…. However, if you just want to get enjoyment out of being creative every now and then, practicing on weekends may satisfy you. It can be whatever you want it to be! Just make sure that your practice time and commitment reflects the goals you’re setting for yourself.

Again and again, have goals. Be intentional. Have a vision for your life in music!

◆ Practicing is about notes and rhythms, improvising is about life
The things you do in the practice room are important for your playing. These practice habits and acquired skills will give you technique and knowledge, but you still need to have something personal to say when you improvise. To do this, get out of the practice room and live. Experience everything that you can and then bring this into your playing, communicate this with your audience.

It has taken me a number of years to get out of the practice room with my improvising. I have been doing it in relatively safe ways- but I’m doing it and that means it will improve.

◆ There’s always room for improvement
The musicians that we love to listen to were always looking for ways to improve and evolve. It’s as if they were never quite satisfied with themselves musically…. find a way to improve your playing on a daily basis. This becomes hard once you’ve made some progress and begin to feel confident in your abilities; you become complacent and lose your drive, but don’t stop there. Every day, strive to get to that next level.

Perhaps the most obvious bit of information in this post. When I get complacent, it is almost as unhealthy as (1) not practicing and (2) skipping the fundamentals.

◆ Quality over quantity is the name of the game
Don’t rush through the elements of your practice routine. … Rushing through your practice will only leave you in the same place where you began.

Take the time and be focused- intentional- about what you do. If all I do is put in the time without it being quality time- I will never reach quality music.

◆ Keep an open mind
Your perspective can change in an instant, your ears are continually evolving, and your goals in music will inevitably shift. That player that you couldn’t make sense of may become your new favorite improviser after a little study. You never know what can happen so be open to new experiences and keep the door open to new musical possibilities.

I have been working on digging into some of the more difficult pieces from Miles Davis. ("Bitches Brew" comes to mind.) They are in a language I have difficulty understanding. Some of Coltrane’s "A Love Supreme" fits that as well. I keep listening and am finding it very helpful. They help new connections be made in my jazz brain which leads to a better understanding of the world around me. Not an exaggeration!

◆ You gotta love it
If you don’t love this music, you’re not going to be successful – plain and simple. Every time you hear your favorite records you should be reminded of why you do this. The sound should excite you, the swing should give you hope, and it all should give you the determination to continue pursuing the music you love.

I love music. I love jazz music. I love playing music. Even long tones and scales for twenty minutes can change the way my day is going. Why would I want to stop?

(The basis of this post’s information on the things improvisers need to know- 

Copyright ©2019 Jazzadvice)

Tuning Slide # 5.21- Taking Stock and Making Dots

Weekly Reflections on Life and Music

You can't connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future.
— Steve Jobs

It is that time again- the end of one year and the beginning of another. Like the news shows and just about everywhere else, that means it is time to do your own “Year in Review.” For me, that means looking at what Steve Jobs called “the dots” of my past year. I do that, not to get all nostalgic over what happened last year, but to take a look at what my direction has been and to see if I need to do something about it. We can only see our path of dots looking backward!

A few years ago when doing this I came up with a number of categories of “dots” that I have found to be a good starting point. They were dots of:

• Inspiration
⁃ Listen to other musicians, attend live music concerts and events, read about some of the great musicians and how they got that way.
⁃ What has inspired me in the past year and how have I grown from it?

• Humility
⁃ Humility is several things. It is
⁃ Being teachable
⁃ Being honest about one’s abilities and shortcomings
⁃ It builds on what has inspired me this year and given me some idea of the direction

• Learning and openness to growing
⁃ How did I put humility’s teachableness to work in my music?
⁃ Was I as open to learning as I like to think I am and what did I do to show it?

• Patience
⁃ Did I want to be as good as Doc in two short, easy steps or was I willing to take each step as it comes?
⁃ When I hit a plateau in my playing did I get discouraged and want to be just satisfied with where I was instead of moving on through?

• Discipline and commitment
⁃ Did I take the time to take the steps necessary to keep moving in the right direction?
⁃ How successful was I at improving my skills through regular, intentional practice?

• Volunteering and sharing
⁃ Did I keep it to myself or did I live and share what I have discovered?

• Acceptance
⁃ Acceptance is what comes from living “mindfulness.” Jon Kabat-Zinn defines mindfulness as:
⁃ awareness that arises through paying attention, on purpose, in the present moment, non-judgmentally… in the service of self-understanding and wisdom.
⁃ When I am short on acceptance (and therefore mindfulness) I find myself unhappy and get upset that the world is not doing what I want the world to do!

At the Shell Lake Trumpet Workshop, the talk of dots from above led to a logical conclusion. Since we can only know from looking back at the direction our dots take us, we need to make sure that as we move ahead we are conscious of the dots we are making:

✓ Therefore make good dots

This is where we would have historically mentioned the old tradition of New Year’s Resolutions. Forget it! We never manage to follow them. Most people who are regulars at a gym or fitness facility, for example, do NOT look forward to January. The gym gets overcrowded for these few weeks with all the fitness "enthusiasts" who have made resolutions. Many of them are gone before the Super Bowl. (I would love to be proven wrong on this some year!)

Instead, look at your dots from last year and make notes to yourself about which dots were helpful and healthy and which ones didn’t get the energy they needed. Take an inventory of yourself for 2019 and see what direction you are moving as you begin 2020. Then figure out how to do it differently, more efficiently, or more intentionally. This is not a series of “resolutions” but rather action steps toward a goal. It is planning on making good dots.

For me one of those dots that always needs awareness is practice. Yes, I practice every day. Yes, I have a basic routine that keeps me mostly focused. But I can always use tools to keep on track. One thing I found recently that I will use in the new year is seeing practice as a spiral. Dr. Gabriela Mayer of the CIT Cork School of Music in Cork, Ireland describes this spiral in an article called “Reflective Practice.” According to the article:

Visualizing a spiral helps students focus on the following interlinking key areas during practice. The students need to learn to help themselves during their private practice time between lessons. The ‘practice spiral’ is an image describing an ongoing process which starts with clear intention, leading to execution, reflection, calibration and reinforcement.

In other words, practice is not a straight line. It is rather a continual cycle of a number of things that keep us improving. Some sample questions from the article associated with each key area are:

◆ Intention: What would you like to achieve? Define specific task and ways to tackle it. The clearer the intention is defined, the better the practice process will be.
◆ Execution: Practice must involve active listening. Be prepared to evaluate what you just did. What traps did you fall into and how could you be ready sooner in order to avoid them?
◆ Reflection: Following evaluation, articulate what elements you want to consolidate and what you want to change. Allow more space between repetitions. Are you clear about you new objectives and do they represent small enough goals?
◆ Varied Repetition: play again with new objectives
◆ Consolidation: Once a desired execution has been reached, focused repetition forms a vital component in retention. (Link)

Now repeat. The practice spiral provides a basic structure for an effective practice regime.

As I look to the new year it looks like this is an area I can continue to build on. I will see my growth as a spiral of planning to action to reflection to repetition to make it part of my music. One specific will be moving into more intentional areas of improvisation. I have given that a lot of work over the years building a foundation that is now ready to be built upon. Using the above steps I will see what direction I can plan on taking my dots for this year.

I hope your 2019 was a good one for you musically and that 2020 will be even better. Keep moving!

Tuning Slide #5.19- More on Being Professional

Weekly Reflections on Life and Music

Amateurs wait for inspiration. The real pros get up and go to work.
— Harvey Mackay

It seems to have become one of my standard ideas to expand on- the difference between amateurs and professionals. The old definition that professionals get paid while amateurs don’t is not the way to think about it- and not just because there are a lot of musicians who get paid very little to do their music and yet are truly professionals. It doesn’t take too many Google searches (usually about 1) to find a slew of things comparing the two.

One I found was on the website for the business magazine Inc. It starts with the question:

What qualities, traits, or habits set those who achieve incredible things apart from those who merely dream about it?

It is a good starting point. Far from the issue of how much you earn at whatever you are professional at, it has to do with what you achieve, moving beyond merely dreaming. For many years I was truly an amateur. Any dreams or desires I had for my music were simply that- dreams. Some of them hardly mentioned, others left behind when I graduated from college I never expected to become professional, under the more traditional definition- or any other. Then I came across some people who encouraged me to change my style, my music, and my habits. I hesitate to call myself a professional even now. At least I know I am more professional than I have ever been. Here, from that article on Inc. are some of the things that separate one from the other. My comments in italics.

◆ Amateurs stop when they achieve something. Professionals understand that the initial achievement is just the beginning.
◆ Amateurs think they are good at everything. Professionals understand their circles of competence.
[I always thought that once I did something, advanced beyond a certain point, I had arrived at wherever that achievement took me. If I got through the first section of Arban, on some level I should be able to do anything in the book. Not true. That first achievement- or even number 100 is not the end. As an amateur that is frustrating. As a professional it is energizing.]

◆ Amateurs give up at the first sign of trouble and assume they're failures. Professionals see failure as part of the path to growth and mastery.
[My “‘troubles” 50+ years ago led me to believe I wasn’t able to do the music. Hence it DID become failure, although purely self-imposed. Only when I looked back with a more realistic understanding did it begin to move me. It still amazes me!]

◆ Amateurs see feedback and coaching as someone criticizing them as a person. Professionals know they have weak spots and seek out thoughtful criticism.
◆ Amateurs focus on identifying their weaknesses and improving them. Professionals focus on their strengths and on finding people who are strong where they are weak.
[The first time I was doing some writing for a study guide for our church’s denominational publications, I got very upset at the person who was overseeing and editing the project. “How dare they edit what I’ve written. It’s so good. Fortunately, since they were a friend of mine, I didn’t say that. Instead, I learned that editing is essential in the final drafts of publications. I have since generally learned to look at advice as support, letting me see what I can do- and how to use it for what I am working on. Hence the ongoing use of the very basics of trumpet playing- long tones, scales, Arban and Clarke.]

◆ Amateurs focus on being right. Professionals focus on getting the best outcome.
◆ Amateurs focus on the short term. Professionals focus on the long term.
[As an amateur I wanted to be perfect. Every mistake I made was a failure. (See above!) Everything was about what was right in front of me- and it was often too far down the road. There was a sense of unreality. I have jokingly said that this is why I have never gotten very far in my guitar playing. I want to be able to play perfectly RIGHT NOW! I want to be able to be as good on the guitar as I am on the trumpet- and it doesn’t work that way. By the way, I am thinking about trying that guitar thing again. I'll see how well I can follow my own advice.]

◆ Amateurs show up inconsistently. Professionals show up every day.
[This can bring chaos to community-based music groups. Part of the problem is that we all usually have day jobs that allow us the freedom to be musicians. That can get in the way of our music. Some of that is unavoidable and part of the reason that while any community-based groups can be very good, we always know that we will never be at the level of the groups on the higher plane. But, if we put in our effort, make the plans to be there every day and add our part to it, our groups will achieve far more than we think we can! And that leads to the last of these:]

◆ Amateurs believe that the world should work the way they want it to. Professionals realize that they have to work with the world as they find it.
[Acceptance and mindfulness; knowing our current limits but not giving up on where we can go; going to work at our “day jobs” while allowing the music to grow within and through us. That’s what works!]

My biggest issue is that I can easily fall back into the old ways. Because I don’t earn my living playing music I can find myself thinking about backing off and being satisfied with wherever I am. That’s still my inner amateur at work. Just because one has been able to get past the early amateur shortcomings, doesn’t mean that one is able to always be “professional.” It is always a work in progress. I and my music are always works in progress. As long as I am moving in that direction, I am no longer just an amateur. I am a musician.

Where are you able to be professional today? Pick one or two and begin to think about how you can improve your musical game.

Tuning Slide #5.18- Keeping Chops

Weekly Reflections on Life and Music

Miss one day of practice, I notice;
miss two, the critics notice;
miss three, the audience notices.
— Credited to many from Franz Liszt through Louis Armstrong to Doc Severinsen and beyond.

I have not played my trumpet since last Sunday. I had some minor surgery and was told not to play. The pressure needed to play my horn could cause some problems and the last thing I wanted was to find myself with an even longer period of recuperation. I have obeyed. But I have missed it! When something has become a daily habit of years duration, there is an empty spot. I am not particularly worried about its impact on my chops. My last gig of the year is tonight (Monday) and I have plenty of weeks ahead to get things back in shape.

Sidenote: In the 1940s (though it was probably used for some years before it was recorded) chops began meaning one's ability, skill or competence, and was a jazz musician's figurative reference to one's embouchure, that is the use of one’s mouth and lips (i.e. chops) in playing a wind instrument. The better one was, the better chops one had. (Quora)

In any case that age-old statement quoted above did come to mind. If I had an audience just listening to me play tonight, they might even be able to notice that my chops weren’t where they could be.

Of course, that is a problem that many of us can often face since most of us are not full-time musicians. Sure, when I am healthy and in the midst of a series of different gigs, I may actually play as much as 20 hours/week, which, let’s be honest, is less than three hours/day. Doc warms up for that long before a gig! It can be difficult to have consistent chops with so (relatively) little playing. I may think I am doing an amazing job, but that is only in comparison to where I have been in the past. It obviously takes some special, deliberate action to keep the chops in some sort of shape when we are not full-time.

I came across a post at Rod Herbert Big Sound Music which addresses that. He titled it Getting Some “Chops” and Keeping Them! - Brass and Woodwind Skill Development Ideas For Busy Part-Time Community Band Musicians. He lists and describes a number of techniques he recommends to help. Surprise, there is no great big secret in them. What they are is, in essence, musical calisthenics that can be used in short segments at different times of the day. They can give a form and direction to some of the things that can go wrong. Just, for example, he says that breath control is one of the first things he loses. (He’s a bass trombonist!) He uses what he calls a Caruso-style calisthenics for sound, endurance, register development, and breath capacity. Go to the link to see what he does.

But most importantly, in reality, is to make sure that you play something every day. One of my teachers told me that when I got going on this version of my journey about ten years ago. As usual, he was right. Play. Get the horn on the face every day. Rod Herbert has these ideas [link]:

· Leave your instrument out of its case! Just make sure the kids don’t trips over it or use it for a football! Every time you walk past pick it up and play SOMETHING!

· Get a good practice mute or spend some money on a Yamaha Silent Brass System. Essential for both families and nosey neighbors. [That has given me the freedom to practice when I am traveling and staying in hotels/motels.]

· Lock yourself away for twenty minutes and get some chops! The ultimate “me time”. [Do that in a few random times added to regular practice time can make a huge difference.]

He also mentioned something called “Breathing Gym.” What in the world might that be? Well, “Breathing Gym” is a book and exercise routine for musicians developed by tuba players Sam Pilafian and Patrick Sheridan. From a PDF here is the introduction.

•Breathing Gym is designed to give control and efficiency of breath by developing proper breathing habits. It improves tone, stamina, and all-around performance

•Breathing Gym can be used as part of a warm-up routine or a mid-rehearsal change of pace while addressing specific issues such as dynamics, articulation, and phrasing

•Breathing Gym consists of five types of exercises:
⁃ Stretches
⁃ Flow Studies
⁃ Therapies
⁃ Strength and Flexibility
⁃ Breathing for the Brain

Here is a link to the PDF that gives the background and some general directions.

Will these work? Perhaps, especially if breath control is a concern of yours. Breathing exercises of course don’t need to be that intense. They can be meditation and mindfulness breathing. That can help with tension release, deeper inhalation, and increased awareness of how your body feels when breathing smoothly and with intention. It sets the brain/mind and body/muscle connections into greater sync. That will allow the breathing techniques needed for your instrument can become more intuitive.

Okay, so none of this is earth-shattering. What it does, though, is to bring some of these things closer to consciousness. We can pay more attention to our need for better chops if we pay attention to doing what we need to do for better chops. It can be known as deliberate practice, planned exercises, touching the instrument daily, mindful awareness of what makes me a better musician. It takes me away from being content with what I’m doing and moves me to the next level.

I have found over these years that this is most essential in a couple of specific situations.

✓ When I have reached a plateau of my playing. It can get discouraging to feel that things aren’t progressing. Yet, that is exactly when I need to take the effort. I have learned that my chops are not leaving me. They are ready to move on. Back then to the deliberate practice.

✓ When I do not have any specific gigs coming soon to practice for. When I know that I have to be at my best form for that upcoming concert or performance, I will find the time to practice. I will work on my chops and the music and the basics. When there’s nothing coming soon, well, I can get around to it tomorrow. Maybe that is why this came to me a this time. After tonight, my next concert will be at the beginning of February. That’s a long time from now. But I know I won’t be ready to get ready for that concert in January if I lose my focus today.

It doesn’t matter where any of us happens to be in the improvement and maintenance of our chops. The word itself brought to mind an old statement about finding enlightenment. The original was:

Before enlightenment; chop wood, carry water.
After enlightenment; chop wood, carry water.
— Zen Kōan

For our purposes:

Before you develop your chops, work on them.
After you have developed your chops, work on them.

Keep going, I tell myself. You’re getting closer.

As Rod Herbert said at the end of his post about chops:

DO try this at home!

Tuning Slide 5.17- Giving Thanks- A Story to Tell

Weekly Reflections on Life and Music

Music can heal the wounds which medicine cannot touch.
Debasish Mridha

The past two weeks have been difficult, which is why there wasn’t a Tuning Slide post last week. One of my older and deeper friends had a major health event two weeks ago tomorrow. We waited and prayed. A lot! My wife and I spent his last day at the hospital with his wife and daughter. We said goodbye about an hour after the life-support was disconnected. Five minutes after we walked out the door, he passed. Over these weeks, music was the grounding force of my life. This week, then, I have a couple of stories to tell. Since last week was Thanksgiving, the stories connect with the holiday and the gratitude I have felt in the midst of the difficulties.

The overall story goes back many years- thirty-five, to be exact. This friend was a highly talented musician. He was more than just excellent at guitar, banjo, and mandolin. He had played in many groups over the years. He was also our neighbor, he had children the same age group as our daughter, and was a member of our church. We did a lot together- if it wasn’t about church, faith, and family, it usually involved music. He was often encouraging me to work on my musical skills at the trumpet- and the guitar.

One day we were sitting having a conversation over lunch or some meal or other. We began talking about music in the church- and church musicians, many of whom were our friends in our church as well as in the larger community. We were commenting about something or other of those things that often bug pastors, even pastors like myself who were also musicians. For some now long-forgotten reason, I made some comment about myself not being one of those church musicians who would give pastors headaches. He got this “oh, really?” look on his face, paused and said:

“If you practiced more, you might.”

He looked satisfied with that- and dropped the subject.

I didn’t forget, however. I especially remembered it a number of times in the past 8-10 years when I did start practicing more- a lot more! I remembered it as my skills did improve. He was one of those smacks up the side of the head that made me wonder what it was I could really do with music if I put my mind to it.

As part of that ongoing subtle prodding, he suggested I go with him up north one year to a bluegrass jam camp he had discovered. While I have tried to learn to play guitar a number of times over the past 50+ years, I never progressed. I wanted to be as good at the guitar as I was at the trumpet, but without the years of practice. He told me there would be a number of others at the camp with the same skill level as I had- and that it would be fun. Since I have always enjoyed bluegrass music- the jazz of country music- I finally agreed. It was everything he said- and more. He and I then organized a couple bluegrass jam camps of our own at our church’s camp in Wisconsin and had the chance to meet, work with, and become friends with Monroe Crossing, one of Minnesota’s top bluegrass groups. I even went to several monthly jam sessions in the Twin Cities before moving.

After the move, my bluegrass chops began to fall away when my trumpet chops and engagement in a number of groups grew. I continued to love bluegrass and listened to it. I attempted to work on trumpet or brass quintet arrangements of some bluegrass classics. They haven’t fallen into place, but my friend did encourage me at it.

Back in September our community band was putting the music together for our fall concert. I was overjoyed to see an arrangement of a bluegrass classic, Arkansas Traveler, in the list. I took the first part with the short 16-bar solo in the middle of it. I knew it would be fun and would fit right in with all my many musical interests.That piece became the closing number of the concert.

The concert was last Saturday, only three hours after my friend died.

I had told his family about it and we were all humbled by the timing. Over the past couple of years I have lost most of my fear and anxiety of solos. As we came to my three measures of rest right before the solo, I said a brief “Thank you. This is for you, my friend” and just played.

But the story isn’t quite over. The next night my wife and I were at another concert in the Twin Cities with the incredible guitar duo of Rodrigo y Gabriela. They both talked during the concert about how powerful and important music is. It is, they both said, “a force for healing.” My friend knew that in his life. One of the groups that he played with for a number of years was a faith-based group. He often talked about how the music they played in concert or for church was more than performing. It was spirit. It was faith being lived and shared. He often talked about how when they sand and the audience or congregation sang with them, it was a “boomerang” effect. The music and faith, and healing, that they sent out was echoed back to them.

As I put all this together, and our big band played a gig this past Monday, I realized that is what has been happening in my life over these 55 years since I started playing the trumpet. It is what I discovered playing in many groups over the years. It is what I am continuing to discover, even when I sit and play long tones or woodshed a difficult part of a piece. It is what happens when our big band plays for a senior citizens group- and they smile, tap their feet, and even sometimes yell “wahoo!” when we’re done.

Music. What a joy, what a gift both to give and receive. I am thankful to overflowing with it. Never lose it. Keep playing, keep practicing, keep performing. You and the people around you will discover healing and hope.

My friend’s memorial will be next Saturday. It will be a celebration of his life- and it will be filled with music!

Tuning Slide 5.16- Beyond the Notes

Weekly Reflections on Life and Music

In the end it’s not about the instrument. It is pulling out everything in your soul.
Benjamin Zander

Benjamin Zander is the founder of the Boston Philharmonic and the Boston Philharmonic Youth Orchestra. He is an author and an engaging speaker. I first came across one of his music interpretation class videos with a young man playing the trumpet solo from Mahler’s Symphony #5. (Link) He is working with a young trumpet player he introduces as the greatest player his age anywhere in the world. As you listen and watch, Zander does some of the most incredible bits of teaching I have ever seen. Beyond the simple pleasure of hearing this music played so well, it is a deeper pleasure to watch and learn from Zander. “I want to hear more than trumpet playing,” he says at one point. “I want to hear the meaning of this piece encapsulated in this opening.”

Wow. Really?

Yes. It is about what is within us that we bring to the music to give it an aliveness. Even if we could play a Mahler piece like this just as Mahler wrote it, we would not be adding the elements that make each of our performances of a piece unique. How many different recordings are there of, say, Beethoven’s 9th Symphony? (A quick search on Amazon showed 193 hits under CD and vinyl; 367 under digital music.) Why is Bernstein different from Karajan or Barenboim or your college director? The soul and spirit of the conductor.

The conductor of an orchestra doesn’t make a sound. He depends, for his power, on his ability to make other people powerful.
Benjamin Zander

And none of these will ever get close to what Beethoven heard in his mind when he wrote it.

My task then, as a musician, is to learn to put my soul into the piece I am playing. It is to find that space in my spirit and life that connects with that piece of music, pull it together, and then let it play through the horn. I wish it were that easy. He does that with Elmer Churampi in the video mentioned above. See how Churampi shits the music ever so slightly through the video as he is urged on my Zander to make this amazing solo his own.

Zander then takes this idea from different starting places in other videos. “The audience doesn’t hear notes, it hears phrases,” he says at one point. He illustrates this in a TED talk and shows what happens when the musician moves beyond notes to the music itself. All the notes of western music are, in essence made up of the same 12 tones. I heard a musician joke once that he had been given a request for a particular piece. He said he didn’t know that one, but it is made of the same notes he was about to play. The differences are in how you use the notes, how they fit together in a flow (or phrase) and what the musician brings to it.

Zander is telling us that to get from the beginning to the end of a piece, we have to stop thinking about every single note along the way! That may be how we first learned to play our instrument- and it may be a bad way to learn- but it is the way we usually do it. We end up understanding a lot of individual notes, but do we know the music? Do we know the soul of the piece? Finding that can be a journey of an entire lifetime. In one video Zander, talking to a young musician, talks about the sensuality that the particular composer used to inform the composition. He looked at the young man and told him, “You are a wonderful musician - but you don’t have the depth yet.”

He connects this with what he calls “vision.” And this type of vision is the long-term view of nothing less than life itself. That will come, if you practice and see it more than just notes. Here are two possible exercises to build this:

✓ Start with something familiar and easy; something you know well or can learn in an instant. Take “Mary Had a Little Lamb”.Spend some time getting the feel of the song under your fingers and into your head. The normal flow, the way you have always sung it or heard it.

⁃ Then move to changing the rhythm a little. Swing the notes.
⁃ Add then change accents.
⁃ Think about what the words of the song are saying? What are the feelings they bring to mind?
⁃ For example, do they remind you of a wonderful childhood memory? Play it with joy. Do they remind you of the loss of a parent who used to sing it to you? Play it with sadness? Do you remember singing it to your younger sibling or a child you were babysitting or your own child? Play it with comfort.
⁃ Do this regularly until the song itself is expressing you.

✓ Go to something more complex and do some of these same things, but also let your understanding of the music change it. Play it in the relative minor key to the usual key. Perhaps even play it in all 12 major keys and see how it sounds different in different keys. What is your favorite key to play it in? Is it the one that is easiest to finger, or is it the one that captures the tonal quality you like in the music?

Yes, it takes time. But take the time. The self-factor will shine and illuminate the music. Just don't let it outshine the music. No matter how you view it, it is not about you- it is always the music!

The major difference between the 'best' and the 'average' is that the 'best' get as much pleasure from practice as performance.
Benjamin Zander

*******************

Videos mentioned above.

Mahler’s 5th Symphony Class:


TED Talk:


Haydn Cello Concert Class:



Interpretations of Music-Lessons for Life:
Link

Tuning Slide 5.5- Making a Commitment

Weekly Reflections on Life and Music

The most crucial ingredient by far for success in music is . . .what happens in the practice room.
—William Westney

It is Labor Day and for some school has begun while for others it will happen tomorrow. One last summer “prepare for fall” post. Naturally it is about the most important and essential ingredient of being a musician- practice. We all have heard that the way to get to Carnegie Hall is to “practice, practice, practice.” That’s where I shortchanged myself. I got to play in Carnegie Hall in college and I didn’t really practice. So I guess I thought I didn’t need to practice. It cost me many years of advanced enjoyment! As fall arrives, make a commitment to yourself AND your music:

Commit to practicing.

In light of this, here’s some thoughts from a post I found at Live About. They had eleven tips for practicing. Here are several of them with my comments in italics.

1) Aim to Practice Everyday
Even the best musicians strive to practice their instrument daily. Make practice a part of your daily routine. Determine when is the best time for you to practice. …If you skip a practice day, don't worry, but do try to make up for the missed practice session by extending your practice time for at least 5 minutes for your next session.

[See closing comments below.]

2) Practice for at least 20 Minutes Daily
Why 20 minutes? It's not too short that you get nothing done and not too long that you end up feeling bored. 20 minutes refers to the lesson proper itself. Devote 5 minutes for warm-ups and 5 minutes for cool downs, just like a regular exercise. That means you must set aside at least 30 minutes a day for practice sessions. …As your interest grows you'll find that your daily practice time will also extend.

[As I have increased my skills and endurance, I have found that it takes 20 minutes to get ready to practice.But I have also found that if I don't have more than 20 minutes at a time, that doesn't mean that I only pratice 20 minutes once a day. Three 20 minutes sessions over a day can be a great goal. I have been amazed at how my endurance has increased with just that "little" bit of practice, daily!]

3) Listen to Your Body
Sometimes musicians forget the importance of being fit not only in mind but also in body. If you're straining to read the music sheet in front of you, do have your eyes checked. If you're having trouble deciphering tones coming from your instrument, consider having an ear exam. If your back hurts every time you sit down to practice, determine if this has something to do with posture. Listen to your body; if it feels something is not quite right, schedule a check-up as soon as possible.

[Many of us may be more likely to take better care of our instrument than we do of ourselves. (See # 6 below). Not a good idea to ignore either.]

4) Make Your Practice Area Comfortable
Is your seat comfortable? Is the room well ventilated? Is there proper lighting? Make sure that your practice area is comfortable and free from distractions so you can concentrate.

[That isn't always possible, of course. The most important is that you can feel comfortable and relaxed. Make your practice room a "familiar and safe place. By the way, this also means having the right equipment and things like pencils, metronome, paper, etc. That helps keep distractions to a minumum. And we love to be distracted! Avoid it.]

5) Remember, It's Not a Race
Keep in mind that each person learns at varying speeds, some are quick learners while others take time to progress. Don't be ashamed if you feel you're progressing slower than your classmates. … The best musicians reached their level of success through determination and patience. It is not about how quickly you learned to play a music piece; it is about playing from your heart.

[Also, don’t get discouraged when you come to a plateau. That does not mean you have reaced the end of your ability- it usually means you have reached a point where your skills and endurance are about to increase! This is an almost foolproof sign for me that I am about to make a jump or even leap in my musicianship. I now get excited- and motivated- when I think I have hit a plateau. Amazing!]

6) Take Care of Your Instrument
Your musical instrument will serve as your friend and partner as you continue your studies. It isn't enough that you're a good player, you must also have an instrument that is of good quality and in top condition. Take care of your instrument; if you feel it's starting to have problems, don't wait and have it checked immediately.

[Okay, I have not always been good at this until I realized that if I don't take of my instrument, I am not taking my craft seriously. Like taking care of my body, I need to watch the care and cleaning of my horn!]

7) It's Okay to Have Fun
We all want to be good at something but for me loving what you do is more important. Never forget that despite all the hardwork you will and are facing, playing a musical instrument is enjoyable. As you improve, your love and enjoyment of music will also grow. You are …on a wondrous journey, have fun!

[Fun! It is definitely okay to have fun, even when practicing. In fact, if you aren't having fun in some way or another, you won't continue. I have to find that practicing is a goal in and of itself that will get me to greater goals in my musical ability.]

I would have never believed I could do what I am able to do today just a few years ago. But that will be in next week's post. A life in and with music is such a gift. My times of daily (!) practice give me the opportunity for daily joy and gifts of grace. Make that commitment! Do it!

Tuning Slide 5.2- What I've Learned

Weekly Reflections on Life and Music

Anyone who stops learning is old, whether at twenty or eighty.
—Henry Ford

As I get into the fifth year of The Tuning Slide I took some time to think about what I have experienced and learned since that first August at Shell Lake Trumpet Workshop. I have decided to put it into the form of a letter to Bob Baca, the director of the workshop and my main mentor these past four years. I am not ignoring the other faculty and people at home who have been part of this journey with me. Together they have helped me implement the ideas and more to where I am today!

Hi Bob,

Well, I missed the trumpet week at Shell Lake this year. It was a tough decision, but I have an opportunity to do some different kind of stretching in my musicianship and I’m taking it. As I told you I will be going to an adult concert band camp in Door County in a couple weeks and couldn’t swing both this year. But more on that later in the year. Instead I want to summarize the many things that you (and the others) have helped me achieve.

What I have learned from these past 4 years:

1. Routine!
I remember from these years at Shell Lake that you and the faculty have often said that one plays a high C the same way one plays a low C. At first I didn’t understand, but I believed you and kept waiting for it to happen while doing what I needed to do. The time spent on playing the lead pipe and LONG TONES has paid off. Last year at the Brass Festival in North Carolina I found myself just playing what was on the page- and the notes came out. The answer to that was a routine. A routine that is regular and consistent.

2. The Basics.
I learned that if we don’t continue to work on our skills, develop our tone, practice rhythms and etudes, we can become stale. Over these past four years I have been renewed in my skills, I have practiced and discovered more ways to speak the language of the trumpet and to put more style and tone and life into it. If I am to grow in any way in my abilities I have to practice the basics- which you have taught me to do and then move into greater technical proficiency. All I wanted to do was be a better musician- and it has happened.

Many years ago I was a first-chair, lead trumpet with whatever skills a high school senior could have in1965. I have learned the importance of being a section player and have discovered all kinds of new techniques. I have never stopped playing, but in the past four years I went from “just playing” to “being musical”. I would never have believed it when I left Shell Lake after that first camp in 2015. I have been amazed at what can happen- and yes, as I have said before, even an old dog can learn many, many new tricks.

Perhaps above all else I have discovered the absolute necessity of never leaving the basic behinds. The Bill Adam routine has taught me not to forget or neglect these basics on a daily basis. I play 10-20 minutes of long tones in various forms every day. It is the foundation. I play exercises in all 12 major keys; I go back and use the first Arban exercises regularly; I discovered that if I can hear it, I can play it. My fingers now move more fluidly through muscle memory and my ears hear more through aural memory. I have learned to always have a beginner's mind!

3. Easy does it. Patience, slow down.
Don’t force it; don’t rush it. The secret to playing fast is to play slowly. Sometimes so slowly that you may not even recognize the tune. If it isn’t working, go back to the basics behind it. So simple, yet so powerful.

4. You can skip a day but you’ll never get it back
I have missed very few days over these last four years, mostly when I was recuperating from surgery and wasn’t allowed to play. Once in a while I may take a day off because there was no way around it. More often I will do the basic long-tones and scales for 30 minutes. On most days I play and now I can play a lot.

5. Listen, listen, listen
Pay attention to yourself in your own practice and to those around you in rehearsal. We practice alone to get to now our part. We rehearse with others to know how our part fits in with the others.

6. The Inner Game- trust self 2
The Inner Game ideas have been around a while and they work. I have known them for years; now I know how to better utilize them and to trust me - Self 2- to do what I can do.

7. Play out. Just do it.
Some may think that a “timid trumpet player” is an oxymoron. Put me in a group or public performance and I would become a timid musician. What a waste. It is exciting. That doesn’t mean to over-perform, be over loud or obnoxious. I means what it says- just do it!

8. Stretch outside the box
I know the importance of stretching one’s skills. It is how we grow. What I have learned in these past four years has given me some directions on how to do that. I enjoy it too much now to even think of stopping.

9. It’s at least 90% mental.
The basics of playing and performing music are the easy parts. Just keep practicing. This goes back to- and expands on the inner game. If you don’t think you can do it- you won’t be able to do it. But if you believe you can- you will- even if it takes months and years of practice.

10. Mindfulness
Mindfulness is the basis of a life of hope and growth. Being self-aware and then being aware of all that is around me and living within it- that’s the ability to be mindful. It doesn’t mean lack of growth or being content with just leaving things as they are. It means being attentive and in my musicianship knowing where I can go next.

That’s what I have learned. Here is what I have received:

A. Play like you like it- and you will like playing.
This is perhaps best described in the meme: If you don’t like playing long tones, you probably don’t like playing trumpet. Really? Yep! It is fun to discover something new with different ways of doing long tones each day. I really like playing and it makes a real difference each day.

B. Confidence
Two weeks ago at a community band rehearsal I had to play a solo part that I had never read before since the soloist wasn’t able to be at that rehearsal. Then I had to play some upper register lines. Yep- I did both. Confidence has built. I don’t get panicked when I see some of those notes or at a passage I would have backed off from before. Now, later this week, I will be attending that concert band camp where I have to audition. I am not the least bit afraid. Call out a major key- I can play any of the 12. Give me a sight-reading page- I know the basics. Am I nervous or anxious. Not any more. Now I am excited.

C. Energy and excitement
What can I say? They sum up what I have been given. The other day I was feeling a little under the weather and restless, unable to find something to direct me. My wife looked at me and simply said, “Go play your trumpet. That always works.”

And it did.

Thank you, Bob and the Shell Lake Trumpet Workshop. You have given me one of the greatest boosts of the past 30 years.

Crazy? Yep- crazy good!

Tuning Slide 4.53- Practicing and Performing (from Year 1)

Weekly Reflections on Life and Music

(I’m taking four weeks off from new posts while I do a number of things, not all related to this blog. In these four weeks I am posting some from the very first year of The Tuning Slide. Some of it will be to refresh my thoughts, and some of it will just ground what I am doing in the purposes of the blog. This one was post #1.29 on 3/16/2016.)

---

Be harder on yourself in the practice room and
be easier on yourself in performance.

---Bryan Edgett

Going through my notes from the end of last year's [2015] Trumpet Camp at Shell Lake, I came across this note:

Practice like you want to perform; perform like you practice

I had some kind of intuitive idea of what that meant, kind of along the lines of the quote above from trumpeter and professor Bryan Edgett. Practice is where you work out what you want to do and performance is where you share it with others. It also meant to me that when I am practicing I should NOT just be playing the notes on the page. Instead I need to be digging into all the aspects of the music- tempo, tone, shape, groove, etc. If I can't find those in the practice room, they won't be there when I go to perform them.

I have seen that happen in my own playing with a concert band. I practice my part and have it down cold. Technically it feels right and I'm feeling good about myself. Then I get to the next rehearsal and I hear my part with the rest of the band and, oops, I can't make it happen. That means that on some level my practice has been missing some things. One of those is to see practice as a performance.

So I dropped an email to one of the faculty from last summer's camp, Bill Begren. I asked him what he took that statement about practicing and performing to mean. Here's his answer:

Performing at a high level is a habit. Develop that habit by practicing at a high level. This most often means:

• Fundamentals make up 50% to 75% of your daily practice.
• Slow down to the point where you can play without mistakes.
• Repetition is your friend.

I told Bill that I would riff on what he said- and he gave me lots of things to think about. Let's start at the top.

I had never thought of high level performing as a "habit." Sure, I knew about muscle memory and getting in the habit of doing things the right way so I don't have to fix them later. But to see performing itself as a habit was an expanded insight. If I have not gotten into the habit of practicing at a high level, I won't be able to do any performing well.

About the same time Bill wrote me the above, we had a brief conversation online about the meme that Malcolm Gladwell wrote about in his 2008 book, Outliers. What has come to be called the "10,000 Hour Rule" basically says that the key to becoming expert in any field is to have put in 10,000 hours of practice. In our instant gratification society this came as a shock to some. You mean I can't be an expert at this for what, 3 1/2 years of 8 hour days? Sorry, not for me.

The other side of instant gratification is finding an "easy" answer to getting what I want. So, if I sit down and play for x amount of time for x amount of days, even if it is 3 1/2 year, I will be an expert. Let's get started. That naturally doesn't happen that way since someone with that type of attitude isn't going to stick with it for 3 1/2 months let alone 3 1/2 years because they will not see themselves changing.

That's because just practicing for 10,000 hours alone isn't going to do it. If you do it wrong for those 10,000 hours, you will be an expert at doing it wrong. If you settle for less than your best for those 3 1/2 years, you will be great at being less than your best. Hence, Bill's comment above that the practicing at a high level is what it's about.

But 10,000 hours of practicing and performing at a high level will lead to even higher levels of practicing and performing. THAT I find exciting and motivating. That does mean making a commitment to doing just that. After a few months of that kind of practice and performance, you will know whether you want to continue that commitment.

But what is "high-level" practicing all about. Bill gives three parts to it. The first is fundamentals. Back in the 60s and 70s Earl Weaver was the manager of the Baltimore Orioles. Weaver was known for preaching one thing over and over- it's the fundamentals that win ball games. You practice the fundamentals until they are routine. Next time you watch a baseball game, notice things like how the first baseman moves to his position to get the ball. It's habit. You watch him throughout the game and you will see him do it the same way almost every time. I have taken hundred of pictures of pitchers pitching. For each pitcher I very seldom get a picture that is unusual. He always pitches the same way.

Fundamentals.

I didn't ask Bill what he considered fundamentals. I already know the answer:

• Long tones
• Chromatics
• Daily Drills and Technical Studies
• Scales

Google "Bill Adam Trumpet Routine" and you will find the best-known of routines and many variations on it. THAT is fundamentals. Doing them over and over. One is never so good that you don't need to work on some of those early Arban's routines. Herb Alpert told me he plays scales every day. Keeping the fundamentals clear and sharp makes those 10,000 hours effective. If you have an hour to practice, at least 30 minutes of that hour should be fundamentals. I know- we don't have that kind of time. Sure we do. We find it when we up our level by practicing at high levels.

Bill Bergren's second insight into high-level practicing is to "slow down." But Bill, it says allegro! So what. I read on one of the sites I was looking at the other day that if you recognize the tune when playing it, you're not playing it slow enough. Slow down. Make sure you can ht the notes cleanly. Make sure you know what the phrase looks like. Give the phrases feeling- but do it slowly. My one teacher had to keep at me for wanting to play it too fast. I want to be able to show I can do it, that I have the technical chops to succeed at it. But when I do that I always flub up.

Sure we will get faster as time goes on, but it is the ability to play it slowly with meaning and purpose without mistakes that leads to high-level performance.

Finally, repeat, repeat, repeat. Repetition is our friend. Don't run it once and forget it. Play it. Then play it again, only better. Build your confidence. Remember the Inner Game tactic of trusting yourself in your playing? Repetition is how you get that confidence.

This isn't deep rocket science or even deep music theory of performance. It is plain old common sense. Which is why we ignore it. We think we have an easier, softer way. We think we can get it done in half the time with half the effort. Well, if it's going to take 10,000 hours no matter how you practice, why not make those 10,000 hours count!

Tuning Slide 4.52- Perception is Reality (from Year 1)

Weekly Reflections on Life and Music

(I’m taking four weeks off from new posts while I do a number of things, not all related to this blog. In these four weeks I am posting some from the very first year of The Tuning Slide. Some of it will be to refresh my thoughts, and some of it will just ground what I am doing in the purposes of the blog. This one was post #1.12 on 11/18/2015.)

---

Don't be afraid,
just play the music.
― Charlie Parker

As a counselor, one thing I always have to keep in mind is that when someone sees reality a certain way, they believe it. For them it IS reality. It doesn't matter whether it is true or imagined. Reality is often what we perceive it to be. So when they come into my office or group for therapy I have to start where they are- even if I know it to be false or mis-perceived.
As we pick up our horn to practice or to perform, what we consider reality will govern what we do next.

For years I believed I could not play a solo.

I was right. I couldn't play a solo. I would always mess it up. Even though I kept at it in church, for example, if I had a organ or piano and trumpet duet I never, ever got it right. Never. Something would always go wrong. I would miss a count and therefore come in early or late. I would miss a sharp or flat and play a discordant note. Any one of a number of things happened every time. Most people didn't notice it as significant most of the time, but I did.

"See," I would say to myself, "you can't play a solo."
I was proving the truth of Henry Ford's statement:

Whether you think you can,
or you think you can't--
you're right.
― Henry Ford

Fortunately I loved playing trumpet so much I never allowed it to stop me from trying or from continuing to play in bands. I would avoid solos, even in band. My trumpet soloing above even 55 other musicians would send my heart into high gear, the adrenaline would flow, the fight or flight mechanism would kick in- and I would mess it up.

Over and over the refrain- you can't solo, you can't solo, you can't!

My perception of reality was true- even if it wasn't.

Note that this was not a fear of being in front of people. I have been in public for 50 years preaching, radio DJ, cable TV host. I could stand and talk to hundreds of people and not be nervous. Put a trumpet in my hand and make me solo in front of a handful- forget it. I can't do that. So said my perception of reality.

So what happened, esp. since I wouldn't be writing about it if it hadn't changed?

My first step was to work with a teacher. Just to play in his presence was a big step. He gave me some assignments; I worked on them; I improved.

Second, I was invited to join a brass quintet. When there are only five of you, each part is, in essence, a solo. We had a lot of fun practicing and developing a repertoire. When we finally did play in public performance I did okay, but I still messed up somewhere in each performance. Again, not always noticeable and never as badly as I had before, but I was building confidence in myself- and reality was shifting.

Third, I began playing some first parts in our community band. I found that most of the time I could do that! But that wasn't a solo. Again- perceptions were changing internally.

Fourth, one year ago this week the community band had a concert and with a solo on one number. My teacher was also playing first and he told me that I was playing it. I didn't argue. I figured that if he thought I was capable, maybe I was.

We worked on it in my lessons. I could play it very well- at home or in the lesson. But not at any rehearsal. Never.

I can't play solos!

But I refused to back down. (Stubborn ol' cuss!) The director never suggested I give it to someone else. The night before the concert we had our dress rehearsal and ...

Nope, still not right.

Concert night. The piece comes up. ("Valdres March" by Hanssen) It starts with my trumpet solo. I do okay. A little weak, but not particularly strong, either. Maybe I can solo? Maybe?

We get to the end and approach the D.C. back to the top- and the solo. One last chance. As we move along toward the D.C. I have a conversation with myself.

• This music is supposed to be fun.
• You're not having fun.
• Have fun.
• You can do it.
• Screw it.
• Play the damn thing!!!

Yep- it worked.

I nailed it. My teacher gave me a thumbs up!

The first solo I played well in almost 50 years.

Reality made a seismic shift and I was now a "real" trumpet player again.

After the first of the year I will be doing some posts on the idea of "The Inner Game" about how we sabotage ourselves with a "Self One" and a "Self Two". That's what this is really about. It starts with our perception of reality. What we believe is what guides us. Reality or not, if we see it that way, that's the way it is. Don't confuse me with facts.

Unless you want to learn to do it differently. I didn't realize that's what I was doing when I started this journey about five or six years ago; when I said yes to the quintet or decided to take lessons again.

So,

• Get out of yourself and seek support and new insights.
• Stretch yourself. Take some chances and risks. All you can do is make a mistake. It's not the end of the world.
• Keep practicing.
• Hear the perception of reality that is keeping you from doing what you can do.
• Then do it.

That's what I did over the years in my life. It works with any task I think I can or can't do. The trumpet isn't any different.

And it is supposed to be fun. Enjoy it!

(BTW: Thanks to Warren, Steve, and Mike for sticking with me through these past years!)

Tuning Slide 4.31- On Getting Stuck

Weekly Reflections on Life and Music

We must be willing to let go of the life we have planned, so as to have the life that is waiting for us.
E.M. Forster

In the past couple posts or so I have been talking about being a student, how to improve what we can do, some ways I am working on a particular direction, i.e. more precise playing. It is always exciting when I get started on something new or different. I can hardly wait to pick up my horn and do that day’s exercise and routine. That goes along well for awhile until I reach a point where I get stuck. There are two things that can happen. First, I stop progressing. While I have been doing well, hearing and feeling the changes and growth, one day it seems to just stop. Over a period of a few days I notice that there is no more change. It’s all still good and I am doing better than when I started on the new goal, but it hasn’t improved any more. My natural response to that I simple. “Well, I guess I’ve gone as far as I can go on this one. That’s it.”

Which leads almost naturally into the second thing that can happen- I feel like I’m going backwards. The sound isn’t as good as it was last week; the endurance has decreased; my range has suffered. I then become more self-critical and less motivated. I cut corners on the particular routine that I was working on and I get stuck. So I start looking around at the music in my books, the routines I have available, the etudes and lessons that I have worked on- and start practicing without a goal. It will keep my endurance up, my embouchure in shape, but it won’t necessarily improve what I’m looking to improve. I become complacent, satisfied with the status quo. While that status quo is light years from where I was even four years ago, I stop growing.

It is all in my head, sort of. Attitude and self-defeating thoughts can do a lot of damage to our growth and movement. Self 1 has taken over and is telling Self 2 that we’ve reached the end of the journey. We can’t go any further down the road. Just sit back and take it easy.

In the end, when you feel like you have gotten stuck, just move on. In order to move on I usually do the following:

◆ I remind myself why I am playing trumpet in the first place- and why I have continued to play and to find ways to grow in these 57 years since I got my first trumpet. It’s all about the music!
◆ I remember the line if you don’t like playing long tones, you don’t like playing the trumpet for its own sake. If it’s all about the music, it’s also all about the sound!
◆ I then remind myself of something that I wrote about way back in the earlier days of this blog- that one often reaches a plateau or even a step backwards just as one is about to make the next move forward. I call that darkest before the dawn theory of growth. Just when you think you can’t continue- you can. With deliberate practice and direction.

The “Aha!” moment has been reached and I can take a look at what has happened, what I have accomplished, and where I can go. It’s at that point I discover a number of things about myself and my growth. I get stuck when one or more of the following things get in the way

◆ Boredom
Playing those long tones and scales can get very dull. Boredom is actually the inability to find the new that is right in front of you. Boredom is unmet expectations telling you that this is crazy. That’s why, if I do nothing else with my horn on a given day, I play those long tones - and I try to play them with as much life and soul as I can. Soulful long tones? Yep. It’s all in my head and how I hear them.
◆ Fear
The fear is the one mentioned above- what if I am at the end of my ability? What if I can’t get those intervals down right or that lick to fall into place under my fingers? Maybe at my age I should just be satisfied with all that I have done in the past few years and be satisfied. I am afraid to fail, afraid to lose, afraid to not be able to grow and improve. So why try? I can recognize the craziness in that statement the minute I say it or write it. Yes, there may very well come the day when I am at the end, but a quick look at Herb Alpert (age 83) and Doc Servinsen (age 92) will quickly remind me that if I keep going I will grow!
◆ Exhaustion
This is a flip side of boredom which is a form of mental exhaustion. It comes because I have been working and working and getting nowhere. It is also possible to overwork your willpower which can lead to both mental and physical exhaustion. This leads, I think, to some of the leveling off of improvement or even the steps backward we take before making an growth jump. This means I have to take a look at how I’m practicing and how I may be over doing some aspect of it.
◆ Lack of direction
These all lead to this fourth reason for getting stuck- I don’t know for sure where I am going. I’ve lost my way, gotten off the path, been distracted. It is time to look at my goals and what I want to get out of- and give back to- my music. It is a two way street and I need to develop my self-awareness, mindfulness, and goal-setting.

These are not just specific to music. I mentioned in a previous post that I have difficulty at times in my physical exercise routine. When that happens I can look at these same four things to discover a possible underlying issue with my exercise, or my writing routine. Fortunately there are ways to deal with them after we have taken a look at ourselves and what we are in the midst of experiencing. I will deal with that next week.

Until then, find out where you may be stuck and what have been happening. It may be one of those four things above, or it may be something very specific to your situation. Don’t be afraid of it- none of us can grow unless we look at what may be holding us back. No matter what, keep moving; don’t stop. Go back to the basics until you discover what you need at this moment in time.

Tuning Slide 4.30- Precision or ?

Weekly Reflections on Life and Music

A strange art – music – the most poetic and precise of all the arts, vague as a dream and precise as algebra.
— Guy de Maupassant

I have a good friend trumpet player who has one of the most precise styles I have heard. His precision at hitting the notes with a clean attack, solid tone, and good sound is excellent. His playing has challenged me in recent months to work on my precision as part of developing my own sound. I am not a precise player. I use the reason, uh excuse(?) that it’s close enough for jazz. I say I like to play and the sound is what counts and, well, you can guess about the rest. Precision is lost.

Fortunately my friend, in his precision, is not just playing mechanically. That is the real issue with some players who insist on being precise. It is too perfect and sounds too automatic. That can happen in studio recordings. There was one brass group quite a number of years ago that had a superb sound on their recordings. It played well, sounded right on with each note, and never slipped in any way shape or form. I actually found their recordings boring. There was no life.

I was then given the opportunity to see them in person. It was like I was watching a completely different group. Some of it was the difference in acoustics, of course. An auditorium has a much different ambience than a recording in a studio being played in my living room. But it was also that, in person, the musicians were able to put themselves into the music. They were just as precise and just as accomplished in person as they were on their recordings; now they were also there in their personalities and interactions with each other and the audience.

A number of years after I saw them they switched either record labels or producers (or both, I am not sure any more.) Their newer recordings had a different sound. They were now alive, their precision still there, but it wasn’t dull, automatic, mechanical.

There are all kind of ways that we can end up playing mechanically, even when playing well. (Not including that awful software that does “auto-tuning.”) Precision isn’t the same as perfect. Precision is, in my definition for this post’s sake, being able to consistently hit the notes on the right spot with clarity and tone. Yes, precision is a mechanical action. It is also a learned action- muscle memory; a learned action- aural memory; a learned action- developing Self 2 intuition.

I have never had that kind of precision. Many players do not have that kind of “preciseness.” Listen to Miles Davis on “So What”; Chet Baker on “Summertime”; Dizzy or Freddie in their best “bop” style. They are not precise. They will slip and slide into, around, and through notes. Sometimes it’s on purpose, other times it’s not and they have to adjust. I would guess that they can play with that precision, but have learned to adapt it to their style. But I would also guess that they had to learn that precision if they were going to change it.

There go all my excuses out the window! The more I write this blog, over 4 1/2 years now, the more I find myself challenging my own formerly best thinking- or, more precisely, my own former excuses. So, while listening to a recording of our quintet and my friend’s precision, I decided that I better work on my precision. As I do so I remember that I want to keep the sound solid and musical. I also want to have my personality and life in it. I do not want to be mechanical, but fluid. That’s a lot to do, but I have a few things on my side by this time.

• First, I have an idea of what precision sounds like. I can hear it.
• Second, I have skills (and a routine) that can be built upon to further the process.
• Third, I have the time this winter to work on it.

So I came up with a plan.

Since the sound is always number one I started with long tones. I always start my playing day with long tones, expanding up and down the scale from G at the bottom of the staff. But now I am paying closer attention to the fullness of the sound and having it maintain the center of the tone. I have done this for a long time, but I am paying attention from a different angle now.

On the days when this precision work is my focus I move on after only five minutes of single note long tones. I then go to my Getchell First Book. At a very slow speed (45 bpm) I play #1, rest, and then #2. The goal is to move from one note to the next with, yes, precision- hitting solid and clean, healthy tones. Resting I go back and play them again up a step from the key of C Major to D Major. Same speed, same focus. Finally I go back and take the same two exercises down a step from C Major to Bb Major. Finally, depending on endurance, I rest and then go back and play the first exercise slightly faster and up an octave, still listening for the precision. I end by playing both pieces at speed.

This takes between 20 and 25 minutes. The process moves from single notes and tones to settle into the sound, then moving notes at a slow speed to catch the changes, scale and chord movements, and the way the sound has to settle in. Then I hear the notes in different scales and how the relationships stay the same in the midst of the differences. Finally I want to hear the upper register tones and then end with the etudes as written at speed.

I have been doing this particular set three times per week. On other days I substitute some of the Arban’s early exercises slurred and tongued in place of the Getchell. Same theory, same precision direction.

I have been amazed at what has been happening.

• First, the sound is smoother and has a precision until I start to tire the embouchure which means I didn’t rest enough between exercises.
• Second, I notice that Self 2 is doing his job keeping me on target and turning the intellectual ideas I have described above into intuition.
• Third, because of that I am more relaxed in my style while still maintaining the precision I am looking to build.

Accuracy, clarity, on target. Add “life” to it and it becomes music. Which is why we do it in the first place.

Tuning Slide 4.29- Getting Technical Beyond Will

Weekly Reflections on Life and Music

Be stubborn about your goals and flexible about your methods.
–Unknown

One of the great fallacies of human endeavor is the idea of “willpower.” We often will hear that all something takes is enough willpower and we can do whatever we want. I did a quick Google-search on willpower and found many quotes that will tell you that willpower is what makes the difference between success and failure. Well, sadly, this is a myth, misconception, and almost surefire road to failure in the long run.

Willpower alone won’t do it.
No one has enough of it to get everything done.

Yes, you need the “will” to do something; you have to have the drive and desire to do what needs to be done. But just depending on willpower alone won’t cut it. Researchers in a number of fields with different experiments have shown that willpower is a limited quantity. If you spend your whole day exercising willpower to make sure you can get everything done, you will get home at night exhausted- your willpower will be shot, gone, depleted. It is actually more like a muscle than some hidden secret strength.

If I want to ride thirty miles on my bike, it will take more than exerting my “willpower” to complete it. I will not have the stamina, the physical strength, or the mental endurance to accomplish it. At least not without training.

Which is what my musical practice routine is- training to accomplish more. But there’s the catch of finite amounts of “willpower.”

Over the past month I have been focused on my physical exercise. I am working hard to losing weight and improving my overall health. I have been exerting more “willpower” to motivate myself to get to the gym and do my routine. During that time I was having a more difficult time getting beyond my basic daily trumpet routine. In fact, to be honest, I missed some days on the trumpet- often the days when I had to exert more “willpower” to get to the gym. It also impacted the time I have spent writing- the third of my personal trinity of self-growth.

Sometimes we have to suck it in and Just Do It!

Which is what I finally managed to do last week. First, I sat down and just played the horn with iReal Pro to get my creativity going again. Second, I pulled out the computer and just started writing. Third, I got in enough exercise to boost the energy. But I still need some work on how to fit all these together- the balance.

It seems to me that “willpower” is not one thing; it is several.
◆ Desire- the “want-to-do-it”;
◆ Discipline- the “plan-to-do-it”;
◆ Habit- the “do-it-every-day” pattern;
It is the combination of the three, as well as others, I am sure, that make what we call “willpower” successful.

Josiah Boornazian, one of the regular contributors at Learn Jazz Standards (https://www.learnjazzstandards.com/), had a post two weeks ago that explained why the habit part of “willpower” is important. The post is about what he calls Three Pivotal Exercises that can help one’s jazz technique. These three exercises are learning how to utilize technical studies of intervals, chords, and arpeggios in jazz. He makes sure to point out that there are many good and very useful technical studies that one can use, of course. (Link)

First, though, he gives his philosophy of using technical studies and urging people to think on three levels. While he is talking from the jazz genre, it applies just as well to any kind of skill we want to get better at.

#1: Firstly, we want to develop muscle memory and sharpen our physical intelligence. I call this “thinking with our fingers.”

#2: Secondly, we want to improve our ability to recognize chords and melodies by ear. I call this “thinking with our ears.”

#3: Thirdly, we want to sharpen our understanding of jazz theory, especially scale/chord theory, because it is so helpful for learning how to improvise fluently. I call this “thinking with our (theory) brains,” “thinking with our intellect,” or “thinking using concepts.”

I like his phrase “physical intelligence” to describe what we often call “muscle memory.” I have often been amazed at how practicing some of the basic technical studies like he recommends can apply so quickly and easily in so many different settings. It happened again recently in the community band I play in for the winter. We are playing the Carmina Burana suite which I surprisingly have never played before. In the 3rd movement there is a four measure run of tongued and slurred quarter notes in the basic G major scale. My brain with Self 2 recognized it immediately, although not consciously. My fingers responded with little hesitation and got it right the first time through. That is muscle memory, developed from jazz and technical studies.

The technical studies in the back of Getchell’s First Book of Practical Studies give a way of training for the physical, but also with the intervals to recognize the chord structures. I have been amazed at times how working these allows me to know what a piece of music is going to do- or at least be prepared for it. Whether it is a standard wind band piece or some comping behind a solo in a big band, that “aural” intelligence and awareness is invaluable.

That easily leads to Josiah’s third level, theory. We practice the technical studies, hear, and then experience the theory. Somewhere in our Self 2 we go- “Oh yeah! I know what that means” which gives Self 1 no reason to jump in and get worried.

One more thought related to the technical studies and their importance is to make sure we play them conscious of their sound and their musicality. It is difficult at times to get beyond simply playing it technically correct but with dull sound or poor musicality. Without looking at the sound and music, we will get bored. But with that awareness, we will develop the ability to play musically, no matter what the study!

It is always the music; always the sound. But more on that another time!