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I imagine the odds are quite slim that my blog’s readers might also be planning on tuning in to tonight’s Miss America Pageant. However, if you are a Miss America fan, then be sure and check out Brooke Kilgarriff (Miss MN 2009) as she belts out Queen’s “Somebody to Love” for the talent portion of the show. I played all the drums on the backing track, and I’m feeling pretty good about the likelihood that my playing will utterly captivate the audience, causing them to completely forget all of those beautiful women wearing evening gowns and bikinis. I’m totally convinced this will happen, actually.
PS. Joking aside, there’s a fair amount of buzz that Brooke is a strong contender to take the whole contest. Go Brooke!
Ok, first off, I want to say that the longer I study music, the more convinced I am that thinking correctly about what you’re doing is an essential element to doing it well. That might be obvious in other vocations, but it seems like typical music education stresses doing and not thinking. Both are necessary, but thinking is probably more necessary than is often acknowledged.
I wrote a post a few months ago about the various stages of the artistic pursuit, which is a broad topic for sure, but definitely aims at the thinking side of things. Today’s post revolves around the more specific world of an instrumentalist, but is also aimed at the thinkers. I’ve heard the following analysis elsewhere, but only recently, and it really blew my mind…
One can basically boil down the levels of technical accomplishment on an instrument into these four stages:
1. “Incompetent & Unaware”
You suck. But, you suck so bad that you don’t even realize it. The elements/components/characteristics of quality musicianship are so far out of your reach that you don’t even know they exist, and are therefore unaware that you lack them. Normally, a teacher is needed to get you out of this stage.
2. “Incompetent & Aware”
You still suck, but your knowledge of what that means has grown enormously. You disappoint yourself because you can’t do what you want to do, but at least what you want to do is clear to you. I suppose this is just another way to phrase the whole “knowing is half the battle” cliche.
3. “Competent & Aware ”
For this one I prefer the phrase “with effort” instead of the word “aware.” The idea is that you have some skills on the instrument now, but, the skills are very taxing to you physically and mentally. You can play, and you can even play pretty well, but you have to give it your all in order to make it happen. You get tired quickly, and your mind is not free to think deeply about what you’re doing – the execution alone requires all your attention. That’s why “effort” is a better word… because we’re not talking about some Zen sense of awareness – we’re talking about very specific and intentional mental and physical effort.
4. “Competent & Unaware”
Again, I’d like to substitute the term “effortless” in place of “unaware.” In this 4th and final stage of development, you realize that your skills are simply tools in a toolbox. It requires no more effort/focus to play your instrument well than it does to lift a wrench and use it to tighten a bolt. For example, I often try to think of my drums the way I think of my speech – that’s the goal anyway. When I talk, I don’t dwell on the way my mouth needs to move in order to pronounce the words that I’m speaking. Instead, I just think about what I want to say. My mouth is just a tool, not an end in itself. The reason I prefer again to avoid the word “unaware” is to avoid the conclusion that good players don’t think about what they’re doing. This is a common misunderstanding it seems – the idea that the goal is to not have to think. While I’m unaware of the specific movements my mouth makes while I speak, I am definitely still using my brain in specific and intentional decisions on what I’m saying. Good musicians do the same thing. Listening carefully to and analyzing what other musicians are playing, making decisions about what to play, and being intentional about executing what you play with precision – these are all very worthwhile tasks for your mind while playing music. You’re not supposed to just zone out.
Ok, so…
The benefit of using these categories to identify where you’re at on your journey as an instrumentalist is being able to see what needs to happen next. For me, it was that 4th category. Once I arrived at the third category (which is where most 10-or-more-year-experience musicians are), I thought I had reached the final stage of being a musician. I then just spent time trying to broaden my horizons, instead of further ingraining what I already could do. Crossing from the 3rd to the 4th category is probably the biggest jump in ability and musicianship on the whole journey, and it seems to me to be the biggest difference between “the men and the boys” of the music world. Striving to “speak with my instrument” as effortlessly as I speak with my mouth has really opened my eyes to the possibilities that the drumset offers, and I imagine I’ll be on this part of the journey for the rest of my life.
The end.
Just passed 100,000 on the hit counter for this site. Much thanks to everybody who bothers to read what I write. Also, many thanks to the spammers that visit the site each day, who, in all likelihood, are responsible for at least half of my blog’s traffic.
In other news…
Some recent gear purchases have left the Goold’s a little in the red. Thusly, here’s a list of the stuff I’m not using right now and hoping to sell. Truth be told, I don’t want to sell any of this gear, but if I have to, I’d prefer to NOT sell it to random craigslist guy. So hopefully someone who reads my blog will need something that I’ve got. I am personally vouching for all this gear… I’ve used it all many times and it sounds incredible.
Disclaimer: this video is really lame and really rad at the same time. Lame, because the narrator and the crew (and Mangini for that matter) are total tools. Rad, because I’m totally blown away by how the drums actually move while you’re playing them.
Scroll ahead to 4:15 to skip most of the lame parts…
HT: Keeto
Apparently Prince just wrote/recorded a fight song for the Minnesota Vikings, in lieu of this weekend’s NFC championship game. I just listened to it, and… um, I don’t know what to say.
The track is streaming at the Twin Cities FOX9 website if you want to hear it for yourself. (To hear the full track, use the player to the right, not the video.)
HT: Pitchfork
Obviously I’ll be dressing up as Neil Peart.
HT: Fink
Some good thoughts on the importance of disciplined practice, from an acquaintance of mine up in Canada.
I’ve got two shows happening this week that I’m really pumped about.
1. Tomorrow night (Wednesday) Caitlyn Smith will be hosting her farewell show as she prepares to leave for Tennessee. Cait has a writing deal with a Nashville publishing group, and you will know why when you hear her songs. The show is at the 331 Club in Northeast Minneapolis, starts at 9pm, and is FREE.
2. This coming Saturday is the album release show for my friend Brett Tyler and his new record Bittersweet. The fantastic Noah Levy played drums on the album, so I’m pumped to fill his shoes for the release night. Sitting in at the show will be Mark Edwards, Joel Hanson, and Caitlyn Smith (see above), who all contributed to Brett’s record in some way. The show is at the Turf Club in St. Paul, with Farewell Milwaukee and Romantica on the bill as well. 9pm or something.
UPDATE (1/16): These shows were this past week, as in they already happened. I realized that I didn’t list any dates so I don’t want things to be confusing. The shows were both totally packed and tons of fun. Thanks to everybody who came out.
Dave Stanoch is a working freelance player in the Twin Cities much like myself, but Dave is 3 or 4 rungs past me on the ladder as far as gigs go. I just got done reading an article of his from Drummer Cafe where he chronicles a show gig he did when Regis Philbin came to MN this past Fall. He provides a great look into the reality of being a freelance drummer and what kind of skills are necessary to make it.
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