Fourth Sunday of Epiphany

Illogic and Paradox

In the past week on Facebook I have seen

• one post that says that Hitler was a left-wing liberal (like our American liberals) because he used the word socialist. (History: Nazi=National Socialist). 
• another post that likens Sanders to the Soviets with the hammer and sickle prominently displayed because he, of course, says he is a socialist. (History: USSR=Union of Soviet Socialist Republics).
• I have now seen that socialism is BOTH extremes of brutal regimes in Europe in the 20th Century. Therefore socialism is brutal and dictatorial.

NOT history: Socialism = brutal dictatorships.

NOT history: Democracy and socialism are enemies.

Only hatred and demonizing can rally the supporters? Only un-truths and illogical parallels along with a re-writing of history can win elections?

God help us.

Enough of a Horse Race

I have been watching the horse race and carnival sideshow we are generously calling the Presidential Election Campaign. All anyone seems to be interested in is:

• Who's ahead? 
• What are the polls saying? 
• Can anyone beat Trump? 
• Is Cruz that awful a person? 
• Is Hillary going to tank again? 
• Can Sanders be a socialist and still win?

That last question is as close to the issues as anyone in the press will go. And that's nothing but pulling a word out that will raise concerns and issues with voters. I am saddened, afraid, and downright upset about the whole process so far.

I know I have mentioned here before that I have been interested in politics since 1956 when, at age 8, my family's support for Adlai Stevenson was in  the minority in our north central Pennsylvania town. Politics hooked me as something interesting and important. The campaign of John F. Kennedy in 1960 settled my political addiction once and for all. I ended up a political science (government) major in college. I am a believer in voting rights being as important constitutionally important as gun rights or freedom of speech and the press.

In my study of history I also know that our campaigns have often been rabble-rousing affairs. The infamous John Adams-Thomas Jefferson election being among the slimiest, at least as far as name-calling and general truth-stretching.  In some ways, then, this particular election cycle has "fine pedigree" in our early history.

But I am not aware of any election cycle that could be considered as amateurish, mean, and so far off center as this one is. At least not at the presidential election level. There have been incompetent candidates at times. Some of them even got elected. But this one seems to be truly unique- one of a kind.

• When issues are discussed, they result in sound bites that call for carpet-bombing of women and children or having Mexico pay for a wall to keep their citizens in. 
• A reporter tells the story of how in most Trump rallies he points at the enclosure in the back where the media and reporters are kept and the crowd boos. Yet, it is that very media who is reporting and keeping him on top. 
• A conservative magazine comes out with an issue of essay about why Trump isn't right for America.  
• On the fringes someone has come up with the great view that Hitler was a left-wing liberal since he was a "socialist."  Therefore Bernie Sanders is like Hitler.

The party establishment of both parties is uncertain. Party hacks, both Democrat and Republican are afraid that if the non-establishment candidates get nominated they will lose. The political process has been hijacked by several different factors.

• Anger
From the end of the 2008 election cycle, anger has been at the bottom of almost everything from the GOP. Hints of it have shown up before, but this is beyond anything we have seen in a long time. The extremely virulent opposition to Obama's presidency has been so deeply rooted in those against him they have wanted him to fail so they could take over. If he had succeeded- unthinkable to them!

• Social media
What plays on social media? What gets attention? The mainstream media has been as much at fault in this as has been the biased media of Fox or MSNBC. Add the easily available presence of all kinds of opinions on Facebook and the Internet and you have an opening for any and all opinions to be expressed. Of course, most are preaching to their own kind, but their presence- and coverage in the press- only goes to flame the anger. No- I am not saying that we should limit any of these. Perhaps we need to discover that these views are the extremes- unwilling to compromise at any time with anybody. And that is not how democracy works.

• Money
The Koch brothers are only the visible sign of the invisible evil of an oligarchy at work. Since Citizens United, corporate money has dominated. Here, from Wikipedia, is a way of looking at it:

Plutocracy is a form of oligarchy and defines a society ruled or controlled by the small minority of the wealthiest citizens. The first known use of the term was in 1652. Unlike systems such as democracy, capitalism, socialism or anarchism, plutocracy is not rooted in an established political philosophy.

Actually we seem to have developed two sides of this- the liberal plutocracy and the conservative plutocracy. These are the ones who fund and support the established orders. They were deprived of some of their historic power starting with Teddy Roosevelt's progressive reforms in the GOP in the early 20th Century and Franklin Roosevelt's with the Democrats in the 1930s and 40s. They have been working hard to gain it back- and are succeeding. They have convinced the greater population that "trickle-down" economics works and that "job-creators" deserve breaks in order to create jobs. Again, this is happening on both sides of the political spectrum. Part of the appeal of a Trump or a Sanders is that they present themselves as outside this system of support.

• And did I mention anger and hate?
Add hate to the anger and you have a dangerous mixture. I would even go so far as to say racism is the final straw that has broken the political process.No one will ever convince me that the opposition to Obama's presidency was not fanned by racism. That does NOT mean that all of us whites are racists. Many who opposed Obama were not- and are not- racist. But there is an undercurrent of racism- systemic racism- that has been at work which then pulls in the interest of those who may truly be racist. I believe it took the election of a "liberal" African-American to bring it out. I also believe that some of the "birther" crap about Cruz stems from the same underlying Euro-centrism. Rubio as another Hispanic and Sanders as Jewish will face it if nominated.

So, in the next couple weeks we will see Iowa and then New Hampshire play a role far beyond their place in the American political scene. Anything can happen, of course, in either state. But it will not be based on substantive issues. Not at this point. Everything is too raw. We need some perspective, which has been sadly missing so far. I don't see it as getting any better.

Nor do I have any idea who will end up as the nominee of either party. Sanders, at this moment, has as good a chance as Hillary, who is on a potentially razor-thin edge. Trump and Cruz are certainly the most likely front runners, at this moment. I hope and pray that the tenor of this campaign will change, though history keeps me quite hopeless about that outcome.  But I also remember that Pat Robertson and Mike Huckabee have both won the Iowa caucuses in the past.

I have hunch it is going to be quite a ride.

Calendar of Saints: Thomas Aquinas

Periodically I post a quote from a saint from the Episcopal Calendar of Saints that week. I connect it with a picture that I have taken as a kind of poster. These are meant to be meditative and mindful, playful and thought inducing. I hope they are helpful in your spiritual journeys.


Thomas Aquinas (1225 - 1274)
Priest, Friar, and Theologian
January 28

Thomas Aquinas was an Italian Dominican friar and Catholic priest who was an immensely influential philosopher, theologian and jurist in the tradition of scholasticism. He was the foremost classical proponent of natural theology and the father of Thomism. His influence on Western thought is considerable, and much of modern philosophy developed or opposed his ideas, particularly in the areas of ethics, natural law, metaphysics, and political theory. Unlike many currents in the Church of the time, Thomas embraced several ideas put forward by Aristotle—whom he called "the Philosopher"—and attempted to synthesize Aristotelian philosophy with the principles of Christianity.Furthermore, Thomas is distinguished for his Eucharistic hymns, which form a part of the Church's liturgy.[8]

The Catholic Church honors Thomas Aquinas as a saint and regards him as the model teacher for those studying for the priesthood, and indeed the highest expression of both natural reason and speculative theology.

-Link

The Tuning Slide- The Inner Game (Part 1)

Weekly Reflections on Life and Music

People ask me how I make music. I tell them I just step into it.

It's like stepping into a river and joining the flow.

Every moment in the river has its song.

― Michael Jackson

I have referred in the past to something called "The Inner Game." It began when W. Timothy Gallwey wrote a book in 1974 called The Inner Game of Tennis. Other books on the same theme followed including The Inner Game of Golf, The Inner Game of Work, and, by Barry Green, The Inner Game of Music. The overview blurb to the tennis book said it is

a revolutionary program for overcoming the self-doubt, nervousness, and lapses of concentration that can keep a player from winning.

The Inner Game Website says

Instead of serving up technique, it concentrated on the fact that, as Gallwey wrote, “Every game is composed of two parts, an outer game and an inner game.” The former is played against opponents, and is filled with lots of contradictory advice; the latter is played not against, but within the mind of the player, and its principal obstacles are self-doubt and anxiety. Gallwey’s revolutionary thinking, built on a foundation of Zen thinking and humanistic psychology, was really a primer on how to get out of your own way to let your best game emerge. It was sports psychology before the two words were pressed against each other and codified into an accepted discipline

Barry Green decided in the mid-1980s to write the first book about the Inner Game that was not about sports. Instead he applied it to music. Gallwey commented in the introduction that with both sports and music we use the word "play" for things that take a lot of discipline. In music as in sports, "overteaching or overcontrol can lead to fear and self doubt." Hence the techniques and philosophy of the Inner Game work equally well.

Green tells us then:

The primary discovery of the Inner Game is that, especially in our culture of achievement-oriented activities, human beings significantly get in their own way. The point of the Inner Game of sports or music is always the same -- to reduce mental interferences that inhibit the full expression of human potential. (Page 7)

We learn in the inner game that there are two "selves" that can be at work in our heads- Self 1 and Self 2. These are not psychological states, personality traits, the conscious and unconscious, right-brain and left-brain, mind and body, or neocortex vs. reptilian brain. They are brain processes that are judged by their impact, the outcome. Simply put by Gallwey and Green:

• If it interferes with your potential, it is Self 1. 
• If it enhances your potential, it is Self 2.

Both Self 1 and Self 2 can access the brain's conscious and unconscious resources, utilize the right- and left-brain styles, or whatever. It's all about the results. (See Green, pp. 16-17)

Gallwey came up with something called The Performance Equation. Green says it this way.

The basic truth is that our performance of any task depends as much on the extent to which we interfere with our abilities as it does on those abilities themselves. This can be expressed as a formula:

P = p - i

In this equation P refers to Performance, which we define as the result you achieve - what you actually wind up feeling, achieving and learning, Similarly, p stands for potential, defined as your innate ability -- what you are naturally capable of. And i means interference - you capacity to get in you own way.

Most people try to improve their performance (P) by increasing their potential (p) through practicing and learning new skills.

The Inner Game approach, on the other hand, is to reduce interference (i) at the same time that potential (p) is being trained -- and the result is that our actual performance comes closer to our true potential. (Green, pp. 23 - 24)

He then applies Self 1 and Self 2 to the equation:

• Self 1 is our interference. It contains our concept about how things should be, our judgements and associations. It is particularly fond of the words 'should' and 'shouldn't', and often sees things in terms of what "could have been".

• Self 2 is the vast reservoir of potential within each one of us. It contains our natural talents and abilities, and is a virtually unlimited resource that we cab tap and develop. Left to its own devices, it performs with gracefulness and ease. (Green, p. 28)

Which is, naturally, what we all want as musicians. To be able to play with gracefulness and ease is quite a goal. We all know those moments when it has happened. We also know those many moments when it didn't. Sadly, we often let those less than graceful moments command what we do and how we feel.

When that happens, Self 1 is in full command.

But Green and Gallwey believe that it is possible to work toward a greater role for Self 2 in our lives, and especially in our music.

Inner Game techniques can reduce the effects of self-interference and guide us toward an ideal state of being. This state makes it easier for us to perform at our potential by rousing our interest, increasing our awareness and teaching us to discover and trust our built-in resources and abilities. It is a state in which we are alert, relaxed, responsive and focused. Gallwey refers to it as a state of 'relaxed concentration', and calls it the 'master skill' of the Inner Game. (Green, p. 35)

That's the introduction to the Inner Game. Simply and concisely it will be a way for us to empower Self 2. Since Self 2 has the same access to our experiences, training, desires, and dreams, it becomes the source of our own empowerment and growth in our skills. It will assist us in dealing with the interference we experience from Self 1.

Of course we have to identify Self 1 when it is taking over. We have to hear that voice and know that it is getting in the way of us doing what we can do.

So for the time being, just become more aware of how your Self 1 voice gets in the way of you doing what you are able to do. Become more able to identify it, even when it makes sense.

In the back of my head, for example, I have an image of an old trumpet player I knew once upon a time. When I knew him he was probably about the same age I am today, maybe even younger. He was not an accomplished musician. He enjoyed playing, I think, but he had trouble keeping up. His image has always been there in my head as to what happens to amateur trumpet players as they age.

Or, as Self 1 tells me, as I, myself, age.

Self 2 has learned that this is false. Very false. I mentioned Herb Alpert's age when I saw him in concert back in October. I have more than a decade to get to that. The same as with one of the participants in last year's Shell Lake Big Band Camp. So I have set Self 1 aside over this past year and went on as if Self 2 were the truth. I am glad I did.

This, as I say over and  over, applies to all of our lives. Self 1 is our inner critic for whom nothing will ever be right. Self 1 will always find the faults, the imperfections, the extreme lack of possibilities. Don't let Self 1 get in the way of your joy.


The Inner Game of Music Website

Playing Around the World: Making a Ripple

Came across this and realized I didn't post it when it was put up on Playing for Change. So here it is. Some wonderful "guest" musicians as well as the around the world people, too.

Third Sunday of Epiphany

Calendar of Saints: Philips Brooks

Periodically I post a quote from a saint from the Episcopal Calendar of Saints that week. I connect it with a picture that I have taken as a kind of poster. These are meant to be meditative and mindful, playful and thought inducing. I hope they are helpful in your spiritual journeys.

Phillips Brooks (1835 – 1893)
Bishop and Preacher
January 23

Phillips Brooks is best known today as the author of “O Little Town of Bethlehem.” Former generations, however, accounted him the greatest American preacher of the nineteenth century (and not for lack of other candidates). His sermons are still read.

He was born in Boston in 1835 and educated at Harvard and at Virginia Theological Seminary. After ten years of ministry at two churches in Philadelphia, he returned to Boston in 1869 and was rector of Trinity Church there until 1891. He was then elected Bishop of Massachusetts, and died two years later.

-Link

The Tuning Slide- Be Crazy- Crazy Good!

Weekly Reflections on Life and Music

Those who dance were thought to be insane 

by those who could not hear the music.

I know- I ended last week's post with that same quote. Well, consider it the theme, the phrase that ties last week to this week. It is a segue into what is like a coda to last week. For when I was finished typing it for last week, I could hear the unmistakable voice of camp director, Mr. Baca:

Are you crazy?

and the response, as always

Yeah- crazy good!

Not sure what to say about that I Googled the phrase "crazy good" and ended up at the online Urban Dictionary where I found:

a. Awesome, amazing, cool, stunning, super cool

Knowing the humility for which we trumpet players are so well known (?), that made sense. Hey- this is about being "crazy good." Awesome, amazing, etc. It is beyond just plain good. Man, it's crazy good!

But that's not what the quote is about. It's more than being especially good, talented or stunning. And sure enough, right after that first definition was another:

b. The feelings following an enlightenment; typically in creative work (elevation of work of art, idea, ability, level of happiness), where one is playing with and extending further. As the paradigm has shifted, others may express the genuine feeling you have actually gone crazy, however the opposite could be true and the path to awesomeness is being cemented.

Wow. Now that I have had happen. A moment of enlightenment, that old "Aha!" moment, leads down a path that you had never thought you would be following. The idea or ability or level of happiness is beyond what we have thought to be "normal." And that can feel like crazy!

Isn't that what musicians are looking to do- go beyond the "normal," find the new idea, the new experience, even in the song you have played hundreds or more times?  You finish playing that exercise in Clarke or the Etude in Concone and you find yourself sitting in silence. Something has just happened. You can't explain it, but you know it is real. People may look at those hours of practicing studies from the 19th Century and look at you and say,

What? Are you crazy?

and you smile and say,

Yeah- Crazy  good!

Or you are sick and tired of that piece your band plays every gig. There isn't even a place of solos or improvising. Sure, the group plays it well. You should after how many times you have played it. But then there's that moment when the audience stands and applauds and you realize you have just played it in a way that you never remember before. Sure, same notes, same rhythms. But the groove? The expression? The tightness of the group? You smile to yourself and say,

Yeah- Crazy good.

Or there's that memory of that place on the west facing lookout at the park. There's room for maybe 20 or 30 people- and the place is full. It is almost sunset on a perfect day. People are chatting and discussing everything from the weather to politics to how to keep the kids quiet long enough for you to see the sun set.

You didn't need to worry. As the sun sinks into t he western horizon and the colors begin to grow and deepen, the crowd speaks more softly. Even the children are entranced by this every day event as daylight lessens and shadows lengthen. You realize that the whole group is now silent. Adults and children in awe of one of the most common events on the planet. In awe as if there has never been one like it- and never will be again.

Try to explain that to someone who may not be able to get it, who doesn't hear the music of the sun or the birds in the forest behind you. Try to describe what it means to one of those overly logical-types who want answers.

What? Are you crazy or something?

Yeah- crazy good!

The past few weeks I have written about the language of music and the ability to speak it, live it, understand it, play it. It is a wordless language that makes no sense to someone who has never experienced it. It is tough enough for most of us on those days when the lip won't stay on the right note, the brain forgets how to play a "G major" scale, and you run out of breath half-way through every phrase.

But we keep coming back because we know the language and we know it works. Not every time, not every day, but when it happens, we are transformed.

So, I will end by again quoting Mr. Baca:

Let's get crazy!
Crazy good!

In Memoriam: Glenn Frey

In Memory: Dr. Martin Luther King, Jr.

2nd Sunday After Epiphany

My Top Ten

As I said last week, I have been posting pictures to a couple sites. Without going into the details for fear of being told I'm seeking for votes for my pictures, I thought I would post what have been among my Top Ten pictures over the past month. I am actually proud of what has been chosen. But I am also surprised by what is interesting to people and what isn't. Some of my own favorites are down toward the bottom of the Top 100+. Guess that shows that taste is in each person's perspective and beauty is truly in the eye of the beholder.

Any way here are the Top 10.

#10. Spring in Rochester

# 9 Catching Surf in Clearwater, FL

# 8 Cones and Spring Color

#7 Biking Bridge Park Rapids, MN

#6 Rochester Peace Plaza at Christmas

#5 Heavy Surf Gulf Shores, AL

#4 Quote (Gulf Shores, AL)

#3 Fall Leaves Great Bluff Park, Minnesota

#2 Pelican Take-off Gulf Shores, AL

I have to say that #1 is also one of my all-time favorites, taken almost 13 years ago now.

#1 Bridge in Winter, Mt. Morris Camp and Conference Center, Wisconsin

Before He Was Famous

Hunter S. Thompson was one of the off-beat characters of the late-20th Century. He started- and personified "Gonzo Journalism."

Gonzo journalism is a style of journalism that is written without claims of objectivity, often including the reporter as part of the story via a first-person narrative. The word "gonzo" is believed to have been first used in 1970 to describe an article by Hunter S. Thompson, who later popularized the style. It is an energetic first-person participatory writing style in which the author is a protagonist, and it draws its power from a combination of social critique and self-satire.
--Wikipedia

Over the past few years I came across some information that linked Thompson to my small, north central Pennsylvania home town. Last year when doing some research on some memoirs I discovered even more about that. Here is what I wrote at the time.

* * * * * * * * * * *

The world of the 1950s and early 1960s was, in small town America still the “old world”. The soldiers had come home, America was prosperous and lots of babies were being born. Jersey Shore, Pennsylvania, was as typical of that world as any other place. If you were looking for excitement and change, challenge and movement, this was not the place. The world of Central Pennsylvania was still as it had been for decades.

Perhaps no one expressed that better than future Gonzo journalist Hunter S. Thompson. In 1957, fresh out of the Air Force and looking to become a professional, Thompson found a job working as sports editor for the Jersey Shore Herald, a daily newspaper whose office was across the street from Lehman Pharmacy. He was 20 years old with no college degree. His resume said he had worked for the Command Courier, the newspaper of Eglin Air Force Base at Fort Walton Beach, Florida. He moved into an apartment four blocks from my grandfather’s house.

Jersey Shore, he discovered was not the (New) Jersey shore, as he had originally thought. He wrote a letter to a friend that clearly explained his no fear but a lot of loathing of Jersey Shore.

So you think Iceland is bad: ha! Let me tell you about north-central Pennsylvania.

There were three red lights in metropolitan Fort Walton: there are two in Jersey Shore, Pennsylvania. There were four laundry and dry cleaning establishments in Fort Walton: there are NONE in Jersey Shore. There were innumerable bars in Fort Walton: there are two in Jersey Shore. There were at least four good eating establishments in Fort Walton: there are but three small grills in Jersey Shore. There were women (whores, lesbians, and divorcees, if you must) in Fort Walton: the only women under forty in Jersey Shore go to high school. There were beaches and water and sand dunes and sea gulls and boats and bays in Fort Walton: there are mountains of coal dust, dirty old people, ancient wrecks of houses, and "True Confessions" magazines in Jersey Shore.

And now you're going to ask just what in the hell I'm doing in Jersey Shore, Pa. I know... and I'm ready with a quick answer I'm having a nightmare.

To say he was unhappy would be an understatement. But it’s not that he was unwelcome. On the Internet I found a scan of his press pass signed by the Chief of Police who I knew. Thompson even explains in his letter about what the people of the town thought.

These nightmare people think I’m a “nice young man” who’s come to settle in their community and make it a home. They call me “Mr. Thompson” and “sir” and insist that I attend the Lions’ Club meetings, become an Elk, and join a bowling team. They invite me to their homes for dinner and tell me that the only thing wrong with America is the fact that we’ve given all our money to foreigners.

He went on to briefly describe his work as sports editor. “Half of one entire page has to be local bowling scores – a goddamn list of people’s names…If a man really wanted to bury himself, I can think of no better place to do it than in Jersey Shore.”

Obviously the rural, small town America was not for Thompson. Staying in Jersey Shore was not an option. But the Hunter S. Thompson that Johnny Depp would one day portray on screen was at work. He left Jersey Shore after a few weeks, but only in a Hunter S. Thompson way. Here is a description from an online blog.

He had taken out a colleague’s daughter; the father was kind enough to allow the young couple access to his '49 Chevy. Sure enough Hunter got the man's prized possession stuck in the riverbed. The next day, the angry co-worker drove the car into work and Thompson said, “I knew heavy trouble was coming …I just got up, took my coat off the rack and went out the front door. Didn’t even collect my pay. Went straight to the apartment, loaded the car and drove to New York.

These “nightmare people” were, of course my relatives, neighbors and friends. “They” included me. During the time Thompson was in town the only thing I worried about was the tonsillectomy I had that November just before Thanksgiving. I want to defend my “nightmare people” but I am at a disadvantage. I knew nothing else but Jersey Shore and its seemingly ideal life. It was probably as quiet and dull as Thompson reports. At least on the surface. Later, the joke would be that the bus drivers on the intercity bus called Jersey Shore, "Jersey Whore". That or "The Peyton Place of the Susquehanna." Of that I have no personal knowledge.

Source of italicized information:
Outta the Way Blog

* * * * * * * * * * *

As always, I guess things depend on your own experiences and history.

The Tuning Slide- Sing, Play, and Dance

Weekly Reflections on Life and Music

Everything in the universe has a rhythm,

everything dances.

― Maya Angelou

Last week I wrote about Joshua MacCluer and a post he wrote titled "10 Principles for Learning Music for Beginning and Amateur Musicians." Just to put this week into context, here are the first five:

1) Start with the “Why?”
2) The goal is to learn to speak music, not to learn how to play an instrument.
3) At the beginning, there are no mistakes or rules.
4) All hail the groove! Find and feel the groove before you play.
5) Don’t worry about the notes! Make it feel right!

Where does he take this list? Let's follow him...
(Note: that the italicized text is from MacCluer's post. The others are mine.)

6) Listening is at least as important as playing.

• We must develop the ability to listen to others and play at the same time. We must also learn what to listen to at what time. ...For example, one technique is listen to a song several times, each time listening to a different instrument or element of the music. First listen to the bass line. Then the groove. Then the feeling. Then the drums, the woodwinds, the keyboard, the violins, then the dynamics. The choices are unlimited. The most important step at the beginning is developing the ability to move our ears away from our own playing to other players or elements of the music.

I will have more to say about this one in a later post. Music is meant to be heard, just like language. It is communication. What have others had to "say" in their music? Listen to it. What does Arban's 1st Characteristic Study sound like when it is played well? You will find it on You Tube. Sometimes if you are having trouble finding a groove- find a performance and listen for it. Then find it in your playing.

7) Don’t practice, jam!

• Jamming is the way to learn any language.... [T]he way to learn any language is to listen, imitate, and jam.... we don’t recite speeches, we have improvised conversations. Every conversation we have with other people is an improvisation! Jamming in music is playing improvised music with other people, trying things out and learning to play with others in a way that works.... Learn to listen, reach and find new things, feel the groove together and talk about the same thing musically, in an improvised and relaxed setting.

One of the interesting things I experienced last summer at the big band and trumpet camps was practicing with another musician. One of us would play the exercise, then the other would. It accomplished a couple of things, First it helped each of us hear the piece or exercise from the other side of the horn. We pick up nuances and phrases that way. Second, it keeps us from rushing through our practice. We pay better attention. It is only a small step from that to "jamming" together.

8) Play with other music as much as possible, even when practicing. Always keep a musical context when playing.

• If there is no one to jam with you today, it’s best to find some music to play along with. Even if you are playing your scales, having a groove to play with is very helpful. Playing with recordings or drum tracks or loops is much better than playing alone.  It is also super fun and very educational to play along with recordings by great musicians of your favorite songs. Make it feel right when you play along with pros on the recording, and it will feel right when you play with people in real life.

This goes back to the listening- and moves it further. Sure, you may do this when trying to transcribe a song, but what about just to play along with Miles Davis or the Canadian Brass? I have learned many wind band and quintet pieces that way over the years. I can feel their groove and find my place in it. And, as MacCluer says above- it really is "super fun."

9) Sing!

• The ideas we want to express [in our music] live inside of us, waiting to be expressed in the real world. However, the connection between our inner world and the outer world must be developed. The best way to do this is through singing. It removes our technical limitations and allows us to find our inner voice and ideas much more easily. Singing should be a daily practice for all musicians.... Once we know what we are hearing or trying to play, it is much easier to produce that in real life.

I don't do it as often as I should, but singing a piece should probably be a standard of playing new or difficult pieces. Someone said at camp last summer that if you have already sung the piece, you are no longer sight-reading. Amazingly- it works. Sometimes I will sing the exercise before playing it a second time. Again, that slows me down (resting as much as playing!) and helps me get the groove a little more firmly established in my head.

10) Learn to move with the music.

• Along with finding our voice another primary goal of music is to feel and live in the groove. The groove does not live in our heads but in our bodies. Therefore, dancing and playing drums is also very helpful. If we dance and feel the music in our bodies or maybe with a small percussion instrument, we will truly be in the flow of the musical experience and the music will flow easily and happily through us....Dancing gets the music in our whole body, and makes for much closer connection with the musical energy. So dance! It’s fun and feels great. If you’re embarrassed, do it in private, and dance your way through the music you want to play. The rhythm and groove you get from that will make the instrumental playing much easier.

Dance. Move. Let the music express itself in your body language. At a recent concert one of my friends commented on the musicians on stage. They had no energy. As you watched them you almost expected them to fall asleep mid-note. Now, there are professionals and top-notch musicians who may not move much in their performance. (Bob Dylan comes to mind, but then his musical and verbal language is so rich, he lives the movement!) So moving when practicing (or singing or listening) does make sense.

~~~~~~~~~~~~~

That groove thing keeps coming back, doesn't it? Well, after writing last week's post on these 10 principles, I was doing my daily practice. After I got warmed up, etc. I pulled out one of the Concone Lyrical Studies, #7 to be exact. I have had this problem that these "lyrical" studies have not felt all that lyrical. They are a collection of notes, one after the other, on the page. In language terms, they are words strung together in a foreign language that I haven't been able to understand. I have also found it more difficult to give slow, lyrical pieces the emotion they deserve.

Well, earlier last week I had found a You Tube recording of #7 and listened to it. It was okay, but it didn't move me. So I did what MacCluer has talked about. I sang it, then started to play it listening and feeling for the "groove." Surprise, surprise. There really is a groove in Concone #7! The next thing I knew I was playing in that groove.

I liked it enough to play it again. I found myself moving with the music as I played it. I can't say I was dancing, but the music sure was.

This is why, at age 67, I am still a student and still learning. There is always something new in the next piece, in the middle of the old Arban's or Concone, or waiting in an unexpected phrase on the next page, around the corner of tomorrow, or even as I take a moment to pay attention to the groove of my own life and the music I make. I call this blog series reflections on life and music. If it works in the practice room, it will work in all our relationships.

• Sing.
• Play.
• Dance.

And one of my favorite all time quotes:

Those who dance were thought to be insane 

by those who could not hear the music.

Enough Already!

Okay. So I've become a winter wimp. We have had an unusually good winter up until now. One of the warmest Decembers on record. A little snow here and there, but nothing unusual.

Well, the past 36 hours winter arrived.

So I'm wimping and whining.

Just thought you would want to know.

1st Sunday after Epiphany

The Baptism of Jesus

Pondering Pictures

Over the past six weeks or so I have become re-involved with some of the picture posting web sites like Guru and Pixoto. In so doing I have been doing a lot of "voting" in Pixoto's image duels and Guru's challenges. A few things have struck me as interesting, and actually surprised me.

As much as I love butterflies and Monarchs in particular, I am amazed at how alike all the pictures appear. I will probably not take as many butterfly pictures, but will still continue on my quest for my unique picture, which will probably look a lot like many other photographers' unique pictures. That was a surprise.

Another surprise (although it shouldn't have been) is the seemingly infinite ways that photographers take pictures of water droplets on all kinds of natural objects. Yeah, me, too. But like the butterflies, I will be a little more selective and not see these as ready-made excellent pictures.

Then there are people pictures. Also seemingly endless. I find myself skipping most of them. A frazzled old face will grab me. So will one that shows an emotion I wasn't expecting. Most pictures don't have any emotion. They are just nice portraits- and portraits are not very interesting to anyone but the ones who wanted them taken. That doesn't mean they are "bad." It just means it is very difficult to make portraits that stand out from other portraits.


Lest I forget: Dog and cat pictures.
More dog and cat pictures.
And then- yep, more.

Train pictures have not yet become boring to me. Most train pictures manage to capture either the lonely "lostness" of railroading, the power of the engines, whether steam or diesel, or the lines to infinity that are the rails.

I also am now even more intrigued by lines and structural angles than I was before. The rails and bridges, building designs and even clouds stand out in my mind and jump off the screen at me. I am more interested in them than before.

But these sites are excellent places to learn a lot about other people's styles. What I am learning most is to begin to experiment more with different aspects of what I am looking at and moving my own style into new directions.

This means:

• Use my eye
• Look for what is outstanding- as in "stands out"- in the picture.
• Be even more aware of lighting and focus.
• Look for those perspectives that get missed in the big picture
• Macro pictures can be a dime-a-dozen. Look for that something different.
• Learn more ways to use post-production, adjusting, fiddling, cropping, and even going to HD more.

In short, I have a whole new challenge ahead of me on my upcoming trip south. Lots of pictures will be played with. Should be fun.

(Note: These all are my own pictures.)

The Tuning Slide- Why?

Weekly Reflections on Life and Music

Music is a language that doesn’t speak in particular words.
It speaks in emotions, and if it’s in the bones,
it’s in the bones.

― Keith Richards, According to the Rolling Stones

In some of my surfing this past week I came across the website of Joshua MacCluer, trumpeter, educator, performance coach. One of the links was to a post he wrote titled "10 Principles for Learning Music for Beginning and Amateur Musicians." While most of us are probably well past the "beginner" level, I found the list a good refresher of what we are all about as musicians. It also reminded me that even if I am not a professional musician or music educator, many times it is in the ensemble work of learning from each other that we can make a lot of progress. This blog has been for me a way to concretize my own learning and practice as a musician.

Back to MacCluer, though. Here are his first five principles. Comments in italics are from his explanation:

1) Start with the “Why?”

• If we forget our real “Why?” while we are playing we might start thinking the answer is something like, “I want to not make mistakes” or “I want to get it right” or “I want to not embarrass myself” or “I want to win this audition” or one of many ego-based desires that make music making much more difficult. Instead, we should figure out our real personal “Why?” and remind ourselves regularly, especially while we are playing music. This is very important.

What is your real "Why?"

Several of mine- I can't stop making music. My life without it would be dull. The performance is one of the ways of sharing joy. My mind is expanded, skills developed, joy embodied. It's been happening for almost 55 years now.

2) The goal is to learn to speak music, not to learn how to play an instrument.

• Music is a language. Therefore, like any language, the foremost goal is communication. If we want to learn how to communicate with music, it is much more important to learn what music is and how it works and how to express ourselves with it... I believe a lot of music can be more easily learned away from the instrument, or using other instruments like our ears, imagination, voices, hands, feet and bodies.

I discovered this several years ago when I started playing in a Big Band. Almost all of my trumpet playing for decades was "concert" material- the great repertoire of wind bands. While I had listened to jazz and Big Band for just as many decades I had little experience playing it. I found it was a whole new world. I struggled. A lot! Fortunately I was 4th trumpet and could easily drop back (or out) when it got to the tougher parts without being missed. While I "knew" the language of jazz and big band, I couldn't "speak" it with my horn. I still had the wind band to play in and there, even with new numbers, I could drop back into a style and language I knew. It kept my chops up and helped me technically while I was learning to speak "jazz."

I am now able to do a lot more with that 4th trumpet part. Last summer at Shell Lake Big Band I learned I know the language and can even play some of the improvising. I am becoming more multi-lingual.

3) At the beginning, there are no mistakes or rules.

• Self judgement closes down the mind and kills learning... The principle here is don’t worry about mistakes. It’s not about “getting it right” it’s about expression. Just play and have fun, and learn quickly and easily like a child

I will be doing a lot more with this one over the next couple months with the Inner Game ideas. Suffice it to say, this is important!

4) All hail the groove! Find and feel the groove before you play.

• The groove is where the magic lives in the music.... The first step of playing music is to connect to the groove. How to do that? Quiet your mind and try to feel it. Focus on the feeling of the music and getting that feeling into your body. You will know you have found it when your body starts to want to move with the groove.

This can be an important part of learning the language talked about above. I know, almost instinctively, the "groove" of a Sousa march, a Holst Suite, an Alfred Reed or Samuel Hazo arrangement. I read over the piece, even if I have played it before, and my body wants to move with it.  That's the groove. With jazz I have felt the groove through decades of listening. Now I am learning how to express that movement through the horn.

5) Don’t worry about the notes! Make it feel right!

• Here’s a secret about music: people don’t listen to music, they feel it. If a song has all the right notes but doesn’t feel right, it doesn’t work.... Right notes with bad rhythm are wrong notes... Victor Wooten’s Rule #1, “Never lose the groove to find a note.” ... If you play a wrong note with perfect rhythm, in most cases most people will not even notice. It will slide right past their ears because the feeling is right.

Naturally this doesn't mean play whatever you want. That is the language of gibberish, the mumbling and noise of pre-language. But it does mean that it is more than just the right notes, the technically correct but lifeless string of notes. Remember in a language that the same words are available to the high school student essayist and the Pulitzer Prize-winning author. It's more than using the words, it is how and why (!) you use them. It is the passion and emotion embodied in them. Feel the music- let the feeling flow.

 I am excited by these principles. They lay more of that foundation that is essential to the continuing growth of my music. I will explore more of these in the next five of MacCluer's principles next week.

What are your reasons "Why?" Let me know.

Epiphany