Time Well Spent

Years ago, I had a music room where I loved to work. It was in an apartment with lots of windows and wood floors. An inspiring and beautiful space, it was a haven where I could temporarily meltdown in frustration and return to the next morning to overcome yesterday’s challenges. It was my happy place, and I must have sequenced over a hundred songs there. A very quiet, nice grandmother lived just underneath and she only complained once. I wish I could remember the song that caused the protest, but I do seem to recall that it was very repetitive. After that incident I moved to a house and the sequencing continued without bothering anyone, but I didn’t feel the same creative energy in that new space. Soon, I wasn’t sequencing anymore because I was playing live music in Japan.

Talking with Brett reminded me of that time in my life because I took sequencing so seriously. It was a process in which I attempted to match as closely as possible every sound, note and rhythmic inflection of the recordings I was imitating on the 8 individual tracks of my Korg M1’s sequencer. I remember feeling so much joy when I could listen to each part take shape within a song originally recorded by seasoned musicians. This work was like going to studio school. Doing it prepared me for live keyboard playing and band work. The task was difficult, yet extremely rewarding.

The preparation part of playing music is so important and necessary. We musicians tend to think of note practice first, but there is so much more to do than just learn notes. We need a rehearsal space that encourages familiarity and comfort, along with problem solving and motivation. We need this because what we do requires focus and intense listening. Brett described the necessity of being able to play parts as close as possible to the initial recording. He said he has made 1500 charts since moving to Nashville two years ago.

Brett also described what it took to really know his equipment. He said he made a “deep dive” into synthesis saying, “if you can get your hands on something that emulates an old school analog synth with really basic parameters like two to three oscillators, basic choices between wave forms, a classic low pass filter and with knobs that you can manipulate…you can get a really good idea of what’s going on.” In trying to figure out exactly what synths were used on “Stop Making Sense” by the Talking Heads, he was teaching himself sound design. This type of learning involves embracing the expanse of no experience with a willingness to try, study and play.

He also described his other equipment well, weighing what each component is capable of contributing. He has a plan for how to route the various sounds and instruments he needs for each song. Because he has spent focused time with his gear, he isn’t thrown off course when using a different keyboard. He knows how to adapt his preferences to what is already there.

I like how Brett described the arduous task of learning how to play piano as a young person with a Steinway that just showed up at the house one day. He said “the rewards for learning are way down the curve.” When I am in my role as a teacher, I constantly look for ways to motivate students to commit to their lessons and regular practice. It can take a long time to play at a desired level. Sometimes contrast and comparison can help a student see the long-term benefits of persisting, and in Brett’s case perspective came about through studying guitar and jazz piano.

I absolutely love his teacher’s suggestion that he improvise for ten minutes at the beginning of every practice session and am going to incorporate that in my teaching from now on. Making up music is freeing, fun and surprisingly personal. It’s a way to honor who people are. It also shows what tools are in our musical tool boxes. I believe it helps us reach for new skills. When playing for fun, we may discover that we actually know more than we thought by reaching for it with no pressure or agenda.

I’m glad Brett is making money playing music, but I hope that he returns to writing more prog jazz too. I really enjoyed listening to his group, “Thick.” Check out the youtube links on the podcast episode page to hear their recording, “M!lk”. And Brett, many thanks for reminding me to weigh every opportunity with the three questions: Does this gig employ good people? Does this gig contain high-quality music that I love and that challenges me? Does this gig pay well? If the answer to at least two out of three of the questions is yes, that is time well-spent just like my time talking with Brett.