1- 22- 2005
How do they become great?
So how do great musicians become so talented? What sets them apart from the other billion people that play instruments or write songs? Hmm…Well the question deserves some thought. I believe its a multi-faceted answer too. Upon reflection of my own musical heroes, I discover a few commonalities.The first common theme running through most great musicians is age. No matter the style of music, the general rule is, the earlier the better. Their seems to be a link in gearing a young ones mind early, on to the basic concepts of theory and regimen practice. This is most notable in classical music where the childhoods of Bach, Mozart, and Paganini, have themselves become legend. However, in virtually all other forms of music, this seems to be a running theme. In Bluegrass: Ricky Skaggs, Allison Kraus, Bella Fleck, Sean and Sara Watkins, Chris Thile, Jerry Douglas, Stuart Duncan, all had musical prodigy stamped at an early age. Virtuoso Rock guitarists: Steve Vai, Eric Johnson, and Yngwie Malmsteen, have similar stories.
There seems to be a link in most of these cases, that involves active parent participation from the get go. Taking cues from the upbringings of past classical prodigies, todays prodigies have had similar parent involved upbringings. In regard to practice discipline, parents provide a key role in getting their kids on the right track. Many of these parents were also musicians, and that I believe that greatly adds to a childs initial intrigue. However, overdoing of this “parent pushing” has also provided many well documented follies. But, I believe the basic concepts of this initial introduction of music by parents has been a key to a musician’s success.
The second commonality that great musicians share, is the environment of their upbringing. The greats were all surrounded at an early age, by the best local and national musicians of their respected craft. They were guided at an early age by people that could lead them down the correct paths. This is crucial when accounting for a young musicians development. When inspired a person can strive for great heights. When in the presence of greatness, its only natural to try and imitate the company around you. The bible says, “Bad company can corrupt good character.” Well the opposite of this is true as well.
The third commonality musicians share is vision. Vision can lead you to greatness. No amount of natural talent, or parental encouragement can replace vision. Vision is the ability to see past a stepping stone, reach beyond established limitations, over come obstacles, and work for greatness. It comes down to time and sweat after all is said and done. Its the violinist who practices Bach 7 hours a day, the guitarist who imitates Stevie Ray Vaughn licks until the C.D. player breaks, the song-writer who on their 1000th song gets a hit. Its not easy, but if true proficiency in any craft is desired, no amount of time or effort is too much.
Musical greatness does not limit itself to large scale public acclaim. Its borders do not stop at M.T.V. or the Bill Board Charts. Greatness can be the satisfaction of playing on a church worship team, writing songs for a college musical, or relieving the stress of the work day, by copying SRV tunes and breaking the C.D. player! (again)
In a society where mainstream values are increasingly falling short. The attributes acquired through music: discipline, determination, follow through, self-confidence, enjoyment, accomplishment, appreciation, vision, are needed in increasing measure in todays times. If you are a student of music I encourage you press on, dig deep, and surround yourself with the best possible musicians in your craft. If you are a parent, encourage your kids to excel in music, and find them the best Christian teachers you can. A Christian teacher has the rare opportunity to get through to a young person. The filling of a young person with biblical truths as well as a musical foundation, is an invaluable asset in todays society.
So How do they (you) become great? Start early and surround yourself with the best musicians you can find. No matter what skill level you are currently at, have the vision to see to the next level, and the follow-through to make that leap.
Its not easy.
It is hard.
But, it is very WORTH IT!
Blessings,
Chris
1-10- 2005
Filling your Role
I occasionally get asked to accompany other artist . These opportunities are ones that I take very seriously and usually have tons of fun. (There’s just something about live performance!) Over the years, I have developed a checklist of sorts that prepares me for these events. The musical genres that I encounter are extremely varied, so it helps me to assess some things before the first practice or gig. The first thing I try to determine is what the artist or group is looking for from me. The situation may call for any number of colors or sounds, and it helps if I am prepared in advance.This week the artist I am playing with is very established. What she is looking for is a live sound similar to her recorded work, but in a trio format. Her recorded works are rich with studio musicians laying down numerous parts, with melodies from varied instruments. Preparation for this can be a bit tricky, but also very rewarding.
In addition to the artist playing acoustic guitar, there is also a pianist who is joining us. The piano lays a nice rhythm foundation, which frees me up to focus on what I call the ambiance or mood elements. After obtaining copies of the artist recorded works, I usually spend a day or two just listening. Questions I ask myself are: what are the main melodies and themes, what dynamics are involved, and what available instruments (that I play) best replicate these recorded works? For example, if there are a lot of orchestral things going on, I might practice with my lap steel and a delay pedal, imitating these sounds. If its basic stuff like distorted guitar or mandolin lines that are on the album, I will simply learn these lines. As is the case with this artist recorded works, there are multiple melodies played by multiple instruments, all going on at the same time. So, I will look for the clearest most audible melody and base my playing around that. Often its possible to weave in and out of instruments. For example, if there is a string section on the verse and distorted guitar on the chorus, I might try playing the verse string lines with guitar volume swells, and switch over to block chords on the chorus. Its kind of a feel thing learned from trial and error. The main thing is to enter the practice of session prepared. I try to make the artist as comfortable as possible. The goal is to make the artist sound better than if they were playing solo.
The next thing I do during a preliminary practice or sound check (if its a last min thing) is try to be as flexible as possible. The artist may request that the key be changed, or a different instrument or sound be experimented with. This is where all those years of practice come in-handy. Its a learn all the rules so you can break them kind of thing. The artist may be sick of the parts on the record and want you to create new ones. This is called being professional. The artist will appreciate that you have the skill to make these changes. I have seen too many circumstances where accompanying musicians verbally disagree with the request the artist. This out of rank kind of behavior, only hampers progress. And 9 times out of ten, that musician will not be called back after the gig. I only speak from experience, I have been on both ends of this. The solution is to know your place and always be as professional as possible. That way you will be sure to build trust and confidence with the leader, as well as greatly increase your chance of playing on later projects.
Blessings,
Chris
12-10-04
Often times, people see musicians only though the lens of sound, not the ideas or motivation, time and sweat, influences and experiences, etc.. that ultimately led to the creation of that sound or melody that you can’t get out of your head. You don’t know why your so drawn to it but you are…Well, over the last 18 or so years of living with these questions and being drawn to these behind the scenes kind of inquiries, I’ve come to the conclusion that music is pretty powerful stuff. In large amounts of people it can fuel the emotion to start riots, revolutions, counter cultures, create stereotypes, new ideologies, trends, beliefs, while at the same time it can evoke, love, healing of past hurts, trigger forgotten memories of people and events, unite cultures, quell anger, subdue hate, it can make you laugh, cry, reflect, believe, doubt. Just imagine if modern medicine released a new drug that promised these things in one little pill. But, music has been used to call forth all of these things and more almost since the beginning of time… The book “The rebirth of music” by Lamar Boschman chronicles the Bibles major emphasis on music. 989 times in scripture music is mentioned. It’s fascinating that music was originally created by God for the sole purpose of bringing him worship. But as in biblical times the negative influence and purposes of music are ever increasing. Very interesting! Well you can get much insight to a performers mindset (or perceived image) by looking deeper at the things that come forth from them. This idea of an “image” in popular music today is exploited to the highest form, and with good reason. It’s making billions of dollars in revenue. Just think about every current superstar in the music industry. I promise every label act has a team of behind the scenes strategist calculating every move. “What demographic and age range are we marketing to, taking what stance on social issues, politics, etc will attract the most number of people in that demographic. What style of dress, attitude, and demeanor will sustain this artist with the chosen demographic the longest, what songs should be on the next record, what cities should they play. Who should they date…You get the idea…Your thinking no…it just can’t be that way!…not my favorite person so and so!…. We’ll maybe not in the beginning, but once that person signs the contract…they are giving up most of their rights and putting them in the hands of the “label effort”. This is most prominent in the popular forms of music.with the highest revenue impact….”Mo Money Mo Problems”For me, coming from an instrumentalist background. I tend to gain much insight and inspiration for my own playing by studying the influences and sounds coming forth from my musical heroes. I used to read quotes from my favorites electric guitar players. It was funny, the better the caliber of player the less they cited current influences from their own instrument. For example Guitarist Frank Gamble (noted super jazz shredder with Chick Corea) once said he mainly listened to horn players, not guitarist. The reason was their heightened sense of phrasing ability. And the more I studied his amazing sense of seemingly liquid lines, the more I realized he was the imitating horn lines, creating an original style of play on the guitar. Chris Thile ( Nickel Creek child prodigy) my personal favorite musician of all time, is becoming known for redefining the approach to the mandolin. Just how does one redefine an instrument? It’s not like say a sports player who breaks a 10 year record only later to discover illegal drugs were involved. Musicians of that caliber are truly one in a million. Edgar Meyer arguably the world’s best upright bassist once said in referring to Thile. A person with that talent only comes every 50 years or so. Thile is having other impacts as well, terms like redefining bluegrass, and changing the scope of compositional boundaries once thought firmly in place in various styles of music. In his latest solo release Thile plays over 20 instruments himself displaying his unique understanding and ability to compose regardless of instrument learning curves. To put it in perspective it’s like Michael Jordan deciding that he wants to venture out into: soccer, football, Baseball(ha), hockey, tennis, golf, swimming, horseracing, motorcycle racing.etc and being at the level where he is competitive on a professional level at all of them. It’s incredible! I am a self described Thile fanatic when it comes to admiring the music that flows out of him. In my research into what events led to his abilities and distinguished him among other notable super musicians, I discovered some interesting commonalities shared by other musicians and composers impacting the landscape of music.
One of the first and foremost is the role of parents in the early establishment of a potential prodigy. In Thile’s case his mother once gave an interview of how she planted the seed in Chris at an early age, describing the fragrant musical atmosphere that encompassed the Thile household. She told of playing nightly music for Chris while she was pregnant, Requiring 15 min of practice before he went outside to play, and cultivating the music bug by taking the whole Family every weekend to the local Pizza shop, to hear bluegrass music. She recalls how by the time Chris was 6 she no longer needed to encourage his practicing because he was self-disciplined practicing hours a day on his own! Thile’s father a noted upright bass player and music scholar also played a significant role in his development, playing with Nickel Creek up to their self- titled label release.
Another wise parental move was the inclusion of good teachers in Thile’s early development. The mandolin player from the weekend pizza band was a well versed musician and started teaching Chris and Fellow NC Guitarist Sean Watkins. Chris was introduced to Classical, and Jazz music as well as bluegrass, birthing many improvisational and compositial aspects of his repertoire.
The other great thing Thile’s parents did was surround Thile with rich musical atmosphere. By taking him to all the Bluegrass festivals, and letting him hear and soon play with all the greats in that style, Thile must have developed an innate sense of authenticity and belonging to the music he was hearing and then re-creating at home. What a motivator to see your hero’s right in front of you playing all the licks that you’ve been practicing. It’s important to give a timeline also to fully appreciate Thile. Nickel Creek in its roots formed when the members were 6 years old, and started playing the bluegrass festivals not long after. Incredible….
Fast forward to today and you have a musician who because of the solid foundation laid by his parents has achieved a sense of greatness, and he’s still only 24 years old to date!
Where was I, sorry I’m off my Thile rocker. So anyway that’s what I found in my pursuit of how he got to the level of musicianship he currently attains. It all boils down to guidance….. and discipline…….. Who is showing you what, and what are you doing with it when you get it. Until next time!Blessings,
Chris
