IntellectualMusician.com

These bits of advice that I’ve heard or read over the years have earned their weight in gold….

This, my first article for Intellectual Musician is a collection of “rules” that I have collected from various sources over the years that I have been seriously committed to becoming a musician. I used to seek out all the “answers”, and these were burned into my consciousness and continue to bounce around in my head. I share them with you.

1) “What You Think, You Become.” –Ghandi

I first read this quote in a book entitled “Fearless Creating”, by Eric Maisel . It emphasized the possibility that the things we attempt to create all begin in our thoughts, and imagination. I put this quote on my wall, my notebooks, my hand, everywhere for a number of years to remind myself to keep my intentions present in my mind, and it always helped me to not give a whole lot of attention to unwanted negative thoughts and my automatic ones, such as..SEX!

2) “There’s Always a Way” -Vinnie Colaiuta

I read this in an interview with Vinnie in a friend’s drum magazine. The gist of the article was that when he was faced with a technical problem, or when he was trying to learn something particularly difficult, or new, he was of the mind that there was “always a way” to get it, be it an adjustment of posture, a new way of looking at the execution of it, a new way of playing the instrument, something to alter to achieve what was previously thought to be “impossible”. I always try to use this when moving up the food chain, trying to get to the next level. It has resulted in some great results, if not necessarily technical prowess, surely something creative and unique.

3) “Poor Artists Borrow, Great Artists Steal” -Picasso or Stravinsky

I have heard that it was either one of these great artists who said this. Also a corrolary…”To be a really good guitarist, you must copy the styles of other guitarists.”-Frank Gambale.

Well, first what can we steal? Chord progressions, tempo, groove, melody, (backwards melody!) style, attitude. What is the difference between that and “borrowing”? I think the great artist turns his theft into something completely his own, perhaps by unabashedly acknowledging the theft and developing it into a whole new creation. Think –The Beatles, Prince, Stevie Ray Vaughan, Jimmie Page, Clapton, Ornette Coleman, Elvis. Whereas the “borrower” is pretending to us that his original work has never before been heard and they have a contrived quality. This can be a very fine line.

Before I ever read the interview with Frank Gambale, saying that copying styles was a valuable tool, I was committed to some vague concept of “being original”. When I got the truth of that statement, I set about to work, and it has changed my life. I embraced the viewpoint that I was a student, and had much to learn from those who came before me, that music and its history was outside of myself, and was bigger than I was. I am now a firm believer that both of these aspects expand one’s growth to an immense degree. They give the player whole new languages to speak, and once you speak new languages, you can create your own great stories. Stories with depth and richness.

4) “The Impossible Can Be Accomplished Through Meditation and Concentration” -The Cup and Saucer Guy

I remember being kind of stuck on a plateau with my guitar playing at one point. I had accomplished a lot, but I didn’t know how to really move ahead. I was watching a variety show on television one night. A man came on balancing a hundred cups and saucers. He did this for what seemed to be a very long time and then he let them all crash around him. As the audience applauded his feat, the host asked him how he learned to do this. His answer was that through meditation, he was able to achieve the necessary concentration. I began my own meditation techniques, first utilizing a simple method of being still, which I had discovered in the writings of people like J. Krishnamurti, and Tara Singh. Nothing which takes years to master, just a simple way of continuing to quiet the mind, increasing concentration, focus, and listening, just being very relaxed, paying attention. I now carry this stillness and relaxation to all my performances.

5) “The Three Month Rule” -Roger Mckinley

Roger Mckinley was a fellow student at Berklee. Roger was also a very gifted guitarist, who, when I first met him, was imitating Pat Martino, and two years later, had created his own explosive unique style. ( see tip#3!) He left the jaws of many around him agape (and he never seemed to be putting any effort into it!) I was surprised that he befriended lil’ ol’ me and was willing to jam with me, and I learned so much from him. One of the things he told me is that it takes a good three months to put something new into your playing. This has saved me much frustration, and tempered my natural impatience. I have found that no matter how much I practice something, it is usually the better part of three months before I “own” it.

6) “Don’t Just Copy The Licks, Use The Concept.” -Roger Mckinley

Again, Roger—Roger would take a lick, say a Pat Martino phrase, and upon learning it, expand it, play it from every possible diatonic step, in any position, alter the modes, etc. This is a great practice. Do you like the way Albert Collins holds and sustains that fifth and follows it with a cascading flurry of descending notes? Try learning it, practicing it, then re-write it from the flatted third, or the fourth or seventh. Start in a position you have never really played in before, or in the major pentatonic, or using open strings or connect it to the one starting on the fifth up an octave…or…you get the picture. By the way, Roger also taught me to “..connect, connect, connect” (*bonus tip).

7) “Master All The Tempos”-Phineas Newborn, Jr.
This bit of advice from the great jazz pianist always stuck with me. I believe this is truly a key to mastering music. Let’s say my intention is to master playing at fast tempos. I work for three months on a tune at 152mm. I’m starting to get it. One night I go to a club and hear some players playing a fast jam. Wow! What tempo is that? I haven’t got my metronome with me but the melody and tempo I can’t get out of my head. I get home and discover that the tune is somewhere in the neighborhood of 176mm to 184mm. Well, that’s a whole new ball of wax! It requires a whole new approach. I ain’t gonna be able to pull off all those clever sixteenth note runs, (maybe a couple of them..) let’s see, it’s back to the drawing board. So, I begin to master that tempo, and the particular style of phrasing it would require to sound really good.— Or, I have gotten pretty adept at a “quick” slow blues at 63mm. But I hear somebody just kill at a super slow 40mm. It’s a whole new world! I’ve got my work cut out for me. This tip truly keeps one expanding and growing, and out of those same old ruts! Master time and you can rule the world!

“Free Your Right Hand” -me

I didn’t make this one up, I just never heard it said. It is like a well-kept secret that I had to discover the hard way. I’m surprised when, as a teacher, a new student will tell me that his previous teacher had told him to always anchor his right hand. On a superficial level this creates a secure way to find the correct strings easily. I force the student to play with the right hand free and begin alternating the pick direction coinciding with the down or upbeat. This is usually met with resistance and creates confusion. I even had a student after one lesson go to a gig and as he tried this advice out on the stage, he ended up cursing me and of course went back to anchoring his right hand after the first set. (See tip#5, the Three Month Rule!) I personally like this method because you begin to truly use the guitar percussively, as a drummer would play the drums. The term “attack” gains a whole new meaning. As one masters the free right hand, one compensates for string noise by muffling unpicked strings with the left hand, or just by learning to be deadly accurate. Combined or alternating lead and rhythm, can be elevated to a whole new art form, not to mention while sustaining a note, one can reach for a beer, cigarette, or hand signal the girl in the third row. (All habits I have given up, by the way.) Pete Townsend once said “Don’t let your technique get in the way of your stage show.” How else to do those ”windmills”, but with a free right hand?

9) “Emotion, First” -my acting coach, Joe Palese

When I was studying acting, many of us would make the novice’s mistake of memorize our lines first then tacking on the emotion after the fact. This makes for bad acting! We were corrected and coached to try the much more dangerous (and messy!) approach of creating genuine and honest emotion in the context of the character and the scene we were playing, and then learn the lines in an organic fashion, always connecting to the emotion. This made for acting that was truly moving. It is the same for playing guitar and improvisation. How many times have we practiced a lick over and over, pull it off flawlessly at a gig or public setting, and have the sense that people are not that moved? Or, do the reverse- you are watching someone else, and although you are impressed, something is missing and you’re not sure what? This goes perfectly with the “Free Your Right Hand” tip. This is where we go first, or at least in the process, make a priority. This is where we develop feel, color, sound, nuance, human voice like qualities, speed that really packs a wallop, melody, mastery of phrasing that comes in the context of emotional communication. This also involves intimacy, and true self-expression, exposing ones self. Giving all that one has, as opposed to the ego trip or impressing others. This is the stock in trade of the true artist. Clapton, Wes Montgomery, Duane Allman, Bill Evans, and Miles Davis come to mind. “ ‘Nuff Said!”

10) “If You Want To Be a Better Musician, Become a Better Person.”-John Coltrane

O.K., so what does that mean? Maybe it means tell the truth, be genuine and authentic. Be happy..contribute to other people and the world…be true to yourself, be true to your ideals and values…be compassionate, be loving. Be a leader and learn to communicate effectively. Do unto others as you would have them do unto you. Be a teacher. Do things as they should be done. Do all of the work. Do what you said you would. Be gracious. Create and nurture relationships. Forgive. Make the world a better place. Make an impact that makes a difference. Be courageous. Quit complaining (unless it is to someone who can do something). Make your words and actions matter. Be impeccable. Be open to learning, growth and coaching.
I never used to understand this one, I also got this the “hard way”. It really is much easier than being a jerk. It gives you power. And—people might offer you more gigs! Peace Out…

Your Life As Art

Path of Least Resistance: Learning to Become the Creative Force in Your Own Life

Fearless Creating (Inner Workbook.)