The Sky's the Limit

                                     Photo by Jake Liefer

Written on 7/14/10

Why am I preparing for a live recording project next week? Why not keep practicing and composing as time permits within the constraints of the day job?  Feeling a bit of pressure as to how I will fare next week. Some of the self talk turning to the negative.  But then I remember why I play music - for  sheer love and joy.

Written 7/27/10

Obviously I began this post prior to the four days of performances I arranged for last week. The recording is done and now I wait for the rough edits to listen to what was played. Now what?  There is something about performing for small intimate audiences that I prefer. The quality of listening that occurs with a small audience in the right space certainly has an appeal to me.  I am not interested in competing with the sounds of drinking and dining in cafes and restaurants as I play.  What I really enjoyed were the improvisations that arose while the audience was playing with temple bells. The joy on their faces as they participated in the act of music was wonderful and brought me back to the reason I play.  To be able to share this joy with others is nourishing.

Back to 'trusting' as the verb that will reveal the next step(s.)  Any ideas? Private concerts for two to dazzle your new date? I could even plan the menu for you, if you need assistance with that. Hmmm, perhaps I am onto something.

Alive Day 4

                           Sign and photo by my granddaughter.

Close to performance time I was looking back to the beginning of this particular project in what my granddaughter dubbed "the ultimate green room."  Suddenly I touched my beginnings with Guitar Craft. Somehow this series of performances now appeared larger in my personal cycle than I have realized. There is much for me to digest. I am seeing how I function in performance. Finding what works for me, how much can I give, how far I have to go. But so much is possible when I commit to the process and allow others to support.

Today was overwhelming. I teared up in the green room for 21 years of the impossible. So very grateful to Joann, Tony, Robert, Sandra, Peter, Steve and all the others who have worked with me, challenged me, and supported me over the years.

Alive Two

                                        Photo by mauspray

The second performance of the four night live recording project is complete. Two very supportive small audiences that also wish for music to come alive. Overall tonight my playing felt better, though the tape holds the answer. We did one improvisation, where  I invited the audience to play with temple bells and then improvised over/under this. We all had fun with this.

I decided to revise the set list for tomorrow night. Change the energy flow a bit and perhaps get the rushed tempo in Dandelion Wish down to where I can play the piece. Very animated conversation after the set with some dear friends. The creative spirit speaks in so many ways.

I am finding it interesting to have gigs on successive nights. Tony and Joann have been an amazing support team. Don't leave home without them!

Of course I need to change my strings again tomorrow, and pick up batteries, and stay out of the way.

First Night of Alive

I was still tired when I woke today and wanted to fall back asleep. The phone rang and it was from work. The problem was resolved immediately but I was awake. Qi Gong with my wife followed by meditation.
 A rare weekday breakfast in the yard and then we began preparing the space. We worked on this until 10:30 am then off to do some errands.

I picked Tony Geballe up at 1pm. With mics and lap top in tow he was ready to get to work. A light lunch and we began setting the space at 3pm. We completed the sound check at 5:15. We had a light dinner of zucchini feta pancakes and veggie sausage and then I rested for 20 minutes. Being as tired as I was negative thoughts about myself and this live recording process were invading my mind. I began watering the postive seeds in me, knowing that these negative thoughts are not truth.

The first of the audience arrived promptly at the appointed hour of 7pm followed shortly by the remaining members. I finished warming up and began to play at 7:30pm. The set-list was:

Gathered Hearts
Steppin' Stones
Matka Boska
Scattered Hearts
Livin' the Dream
Dancin' Free
Kinnara
Lost Ballon
Dandelion Wish
Here We Are

Peter suggested an improvisation. I passed out three temple bells and Joann had another bell. I used me ebow. A second improv also occurred. Peter wanted to do something together. First he played In a Silent Way and then Shifting Shadows. We then played a circulation together.

Should I be tired?

Long day at work today. Home for some deliciosa zucchini-feta pancakes and then off to my Alexander Technique with David Jernigan. Some good conversation and understanding of the process. Into the basement for a run through of the for the summer performance project. Ten pieces and perhaps an improvisation. The tape will be rolling. Will I?

Time to rest.

Be Here Now

                                               .


The key to success in guitar practice - Being here right now with what I am doing. Be Here Now. It really is that simple. It really is that hard.



!

One Phrase at at Time

                                     Photo by Crosathoria


I began practicing at 11am, wish I could do this more often. In preparing for the upcoming performances this week I have continued to apply the principles of the Alexander Technique. This has meant more time spent with working with how I "use the self," which has taken away from time spent on 'playing notes.' In embracing the technique in this way I have also introduced much confusion in my playing. At times thinking of the directions while playing, judging myself for how I am applying AT or not, and wondering when I'll find my way through this. Recently I feel as if I have turned the corner, reaping the benefits from my recent AT practice

Today I began my practice with using the Guitar Craft primary for cross - picking, but using finger picking instead.  I have always loved this simple theme, finding it soothing and focusing. I paused between each six note segment of the theme. Giving the AT directions, releasing, lengthening, widening, and in doing this simple breakdown of my playing I noticed subtle aspects of my right hand fingers at work.

I moved on to the new piece Steppin' Stones, which is a piece that I am very much still learning. I decided to break it down one phrase at a time to see what I could learn. The intent was to pause between the playing of the phrase to give myself the AT directions and to unveil areas of my playing that needed clarification. In the opening phrase I heard again the one hammer-on that has been played carelessly for long wnough to now be the way it is played. I had to further break down my investigation to just the notes prior to this hammer-on. Then I moved the pattern around the fret board to look at it. Finally I saw and heard what is going on. Giving the directions again I played these notes. I worked with this until the hammer on was reliable and took a break. All told this had taken close to 15 minutes on just this one phrase.

During the break I did 20 minutes of Qi Gong, further releasing unnecessary tensions, and allowing my bodies energies to move around. Back to the guitar and I played through the opening phrase and was satisfied. On to the following phrase. I continued in this manner through the first two sections. No other issues as major as the first phrase were observed.  I noticed that in general my playing of these other phrases were improving as a result of the work that had been done on the first phrase and my overall working with paying attention to "my use of the self."

I arrived at the trickiest part of the piece with the triad power pull-offs that I had written about earlier this week. Working in the same manner as above for a few more minutes I realized I was loosing my attention. I sat for a bit and then returned for a few minutes of clarifying work. Recognizing that I needed a longer break I decided write these notes.

Now it is 12:20 pm and time to return to the guitar. I worked on the opening notes of this phrase a bit and then moved on the entire phrase. I played it beautifully twice with the pause in between and after the second play through. I was ready to break for lunch but decided to go for one more time. A couple false starts and then the pause for directions again. A good play through, pause, and another beautiful effort. Decided to address the final section later and allow this practicing to be digested. Where's the PBJ sandwich?