audiotthoughts on music

so small beats large, eh? didn’t i talk about that already? well, this time it’s more like short beats long and i’m talking about periods of time. did you know that it’s impossible for us to really concentrate on something longer than a few minutes?  it’s true, although i don’t know the source of that information anymore. we think we could do something for hours and being focused the whole time but we can’t. by the way, this might be the reason that the ideal length for a song, which is played on radio, is somewhere around 3:00 minutes – keep that in mind when you record your next 70s-sound-alike-mammoth-intro…

anyway, learning is most effective if you do it for short periods of time – about 5 to 10 minutes and then take a break. there are two reasons for this: first, the above mentioned ‘concentration-span’. and the second reason: remember the puppeteer-and-datahighway-building-guys? those fellows are quite assiduous people. when you start learning, they start building – nothing fancy here but when you stop learning, they go on building for at least a few more minutes. ok, if you’re learning for five hours and then you win 5 more minutes, it’s nothing. but if one of your learning units is only 5 minutes and you still get a 5 minute bonus, that means – well, you do the math. depending on how long you need to dig in, learning periods of 10 minutes might be better, you need to check this out for yourself.

so go ahead and make up a plan by first breaking down the task into small pieces (that can be done in 5-10 minutes…), then do one at a time -  slowly and focused and after each of those periods give your brain a break, so the tiny workmates up there can finish up. you don’t need to doze off into standby mode, just do something else you don’t need to focus on. for example, you’re working for 7 minutes on that new arpeggio, playing it slowly and focused up and down the guitar neck. then, as a ‘break’, you crank up the amp and thresh your favorite punkriffs out to the universe. and after that mr. brain is ready to take another bite…

yep, i wanted to add a few words to the last entry of this series. first of all, the doing-it-very-slowly-thing is especially for learning new things. then, it’s not only about doing it slowly but also about doing it well aware and concentrated. so to avoid any misunderstandings, i wanted to clean that up. learning something new on a drumset is a great example because with this instrument, the moves you make are huge compared to a guitar for example. big moves mean you can easily see what exactly’s going on. maybe you want to hit the hihat with your right stick and then hit the lowest floortom afterwards. that’s quite a long way for poor mr. stick. now, if you practice this at normal playing tempo, chances are, your motion is far from perfect. you mostly concentrate on getting this done in time. doing it slomo, however, gives you nice visual feedback on what it is you’re doing. you will immediately see, if the motion is unbalanced, weird, wacky, whatever. and you will be able to correct that aka replace it with a nice round beautiful motion that will not only help you staying in time, but also look a lot better to bystanders :-) – it will sound better (trust me on that), feel better and your hands, arms, shoulders, back, neck will thank you. and one more thing: you will be able to play this a lot faster once you really figured it out and got rid of all wackyness.

of course this goes for any instrument, drums just happen to show it more clearly…

yeah, and i’m sticking to it. i know, i know, these times recommend speed – maybe above all. but learning doesn’t. so the next tip would be: do it sloooooooooowly!

i’d like to mention a picture i got from Vera F. Birkenbihl (yep, her again). imagine you trying to learn a task, like playing guitar for example. learning means new nerve tracts are being built in your brain. so you have a piece of music you want to learn. and now let’s take a look at your brain. there are the guys up there that build new nerve tracts and then there are the puppeteers, those who move your muscles. on the other hand you have only a limited amount of processing power (guys). what does that mean? right, the more puppeteers you need, the less guys are left to build those nerve tracts needed and vice versa. so the slower you play it, the less puppeteers you need, the more guys are available to build the new datahighways. makes sense? cool. this is of course in no way simplified or otherwise manipulated, it’s exactly what happens in your brain…

lots of people try to learn new things by doing it way too fast and repeating it over and over and over again. but this is not efficient at all. almost all the guys are busy playing the puppet (you) and that leaves almost nobody left to build the nerve tract, which is just another term for learning. learning = building new nerve tracts. maybe you know the feeling of practicing hours and hours and still don’t get the results you want. chances are, you made exactly that mistake. the next time, try doing it slooooooooowly – as slow as it gets. overdo this.

there’s one more advantage to this: if you play every single note slowly and well aware, you will play a lot more precise or cleaner, without unnecessary movements etc. and because you’re doing this while the builders are already at work, they include this too. you’re learning better technique as a bonus without any additional effort – how cool is that?

ha! to tie in with yesterday’s entry, here’s the next tip:

no.2 get the big picture.

you can’t tell which one comes first, because it depends. if there is a big picture available (like a song for instance), then you should of course concentrate on that before you break it down. in this case it’s best to provide your brain with an overview and then go from there. but there are situations when there just is no big picture (those are usually the ones where mr brain up there smoothly glides into standby-mode). scientists, for example, need to work with things and understand things without knowing what the end result will be or how it’s all connected. in a situation like that, you need to deal with what you have by using the breaking-it-down-technique, so you can then work on unveiling the big picture. this also happens with music. think drums: you can learn and practice rudiments to achieve certain skills like precision or speed and then later discover that other things, you never understood before, make use of exactly those rudiments… it’s impossible for you to get an overview of all rudiments including all possible uses for them in the first place. so you work on one at a time and then discover what you can do with them…

now, what’s the priority?

no surprise here, if it’s possible to get the big picture first, then by all means do so – it makes the following a lot easier. to give you an example: if you’re reading a book (apart from novels of course), it really helps to focus on the table of contents first. give your brain the chance to see what it will be dealing with, where the journey goes. that way, it will be prepared, open for things to come and a lot less stroppy…

never fight your own brain – it’s a fight you can’t win :-)

this is something that lots of musicians don’t think about. and if they do it, it’s often for the wrong reasons. i know a lot of musicians who teach, but most of them do it for the money and that’s just wrong. you shouldn’t become a musician to make money and you shouldn’t become a teacher for that reason either. if it’s money you seek, work as a banker (maybe now’s not the right time to start…), lawyer, doctor or whatever else. if you’re a musician because you want to make money, you’re either a moron or Paul McFriggin’Cartney. don’t get me wrong, if you happen to make money as a musician, that’s great! if you make a living by playing music – awesome!!! this is the no.1 dreamjob. period. but if you are even thinking about money during ‘work’ – you’re in trouble.

well, why teaching at all then? first of all, to spread the art – to enlighten – to help others grow. not your cup of tea? alright, the next reason is for the me-people out there: to learn something! ahuh. i’m serious, since i started teaching (back then it was for the wrong reasons, i admit) i have learned so much, it’s still hard to believe for me. when i started, i thought ‘hey y’all, i’m so good at what i’m doing that i’m gonna show you how it’s done and you’ll pay me to bathe in my wisdom.’ ugh.

the first thing i learned though, was that i was not half as good as i thought. i guess today i’m half as good as i thought back then (and that’s a lot :-) :-) :-) ). then i learned that teaching is more than just talking about how you do it – you need a plan, a concept. you need to set goals and you need a way to achieve them – and, most important, you need to have a plan b for everything. because in almost ten years of teaching, i never ever had a single student whom my concept worked on without adjustments. every student is different, especially when it comes to the voice. so by adjusting, improvising and figuring out new ways to deal with problems you’ve never encountered before, you learn. and not just as you would learn from a book or something – more like new horizons. we always get used to things, it’s our nature. but that means once we have found our way of doing something, we don’t think about it anymore – and therefore, don’t learn anything. but dealing with problems we never had ourselves forces us to think and to make up alternatives and that’s how we learn.

i would even venture to say that teaching is the next step in learning music. once you’re a decent player/singer, it becomes the next thing to do.

i should mention that not everybody makes for a good teacher, and if you simply don’t like the idea, then you probably shouldn’t teach. but there’s still two things you should do. first, learn about teaching – or better: learn about learning. learn how learning really works, that alone is worth so much… and second, create a concept on how you would teach someone. yes, even if it doesn’t come to it….

and who knows, maybe you even make some money ;-)

Image by audiot.eu via Flickr

of course there is! but since that had to be a personal workout for every single guy, i can only make this up for my students, or at least for someone whose voice is familiar to me. what a bummer, right?

ok, i’ll give you a different answer: of course there is! just make one up for yourself :-) here are some tips on how to do this right. first of all, you are the one who knows your voice best, so act accordingly. a workout is something that should fit you, meaning always keep in mind what you can and cannot do. it’s supposed to bring you forward, so it should 1. enhance or improve the skills you already have and 2. broaden your horizon or push your boundaries in order to develop new skills. that sounds a bit technical, i know. the point is, repeating something you already can do over and over and over again (as lots and lots of people do), is boring and inefficient – at least to your brain (your learning-organ). to your ego it’s pretty cool for it gives you reassurance about how great you are. but you want to learn something or get better (yes, that’s possible), so it’s important to focus on something that can be improved or newly achieved.

that being said, it’s of course wrong to set your goals too high – that would become frustrating pretty fast. so where to begin? it’s easy, just take a record that you’re familiar with. you should know the songs including lyrics. because a workout should keep you motivated, it makes sense to use a whole album instead of just one song. there will be parts that you like and don’t like, parts that are easy and parts that are harder to do – that’s perfect. i have a bunch of albums that i know inside out, meaning i can sing the whole cd from the first to the last word without pause and – if it’s live – even the passages in between songs. this makes it easy to dive-in and be less distracted.

but if you shouldn’t choose something that you already can do? how can that…i mean….ain’t that a contradiction? no. for two reasons. one, practicability: i find it important for my workouts to be usable everywhere, especially (for me) in the car. that means sheets i’d have to look at, lines i’d have to think hard about to even remember, melodies or passage orders i’m not certain about are k.o. criteria. you’d only need to listen to this record more often to achieve those things, that has nothing to do with a workout. and the second reason is: you take that, what you already can do, only as a starting point to begin your workout with. then go from there in terms of concentrating on an aspect you want to improve/learn and try to push yourself in that direction.

to be continued…

ok, i borrowed this idea or learning technique from two outstanding teachers: Billy Ward and Vera F. Birkenbihl. the first one’s an unbelievably creative drummer, the second one’s a ridiculously productive and creative german author and trainer. i don’t know if there is any english material of her but if there is you really should check it out.

the idea now is quite simple. i mentioned this before as a way to learn in a passive way but there are ways to exploit this even further of course. again this is about imitation and the experiment would be to pick something to imitate, a guitar part from one of your favourite songs for instance. now the goal is not to cover it or play it your way but to copy it as perfect as you can. this includes not only the notes played in the same tempo but also things like the sound, the phrasing, the accents etc.

make an exact copy of the original. this can be pretty hard, i know, but it was a lot harder before the internet with sites like youtube made our day :-) now the first thing to do would be to figure out what it really is that’s been played in the first place. for me this usually is the tough part because great musicians have ways of making things sound different. ahuh. i’ll try to explain: there are two types of creativity, convex and concave (gosh, i hope this is the same in english…) – maybe we could call it active and passive creativity as well… the active (or convex) type is the one an artist uses by creating something – easy enough, right? now the other one is the type one uses by listening to what the artist created. meaning not only the artist needs to be creative but the audience as well. hmmmm, not very cear, is it? think about a painting by a modern artist. to lots of people it may just look like someone threw up right on the canvas. but others see something in it, their mind makes something of it, it creates or re-creates the picture. maybe the way the artist meant it, maybe not… that’s concave (passive) creativity. if you don’t have this, there will be no picture. of course this goes only for that one picture or artist and maybe he really threw up on the canvas, who knows? in that case your nose would need the concave….you get the idea.

anyway, great musicians (or painters etc.) are able to get your ears to hear it in a certain way. for example a drummer could leave out certain notes but you would swear that you hear them. that’s what makes it hard to find out what was really played in some performances. so the first thing i would do is to look if i could find it on youtube. if you dig it there’s a good chance other do as well, so someone might have uploaded exactly what you’re looking for. you might find a performance of the original artist as well as other guys trying to play it or maybe even break it down. if it fails you’d have to use trial and error but that’s fine and even has its advantages, because the quest for creating a sound-alike-piece is much more rewarding this way. but it can also be a very long one and might even not work at all… as soon as you know what was played, figure out how to get that exact sound – everything’s allowed. after that it’s just practicing to bring it up to speed or precision etc.

anyway, experiment. try as hard as you can to make a perfect copy. “but i don’t have the same gear…” don’t give me lame excuses. you need to make do with what you have, that’s an important part of the journey.

in the end you will not only have gained really cool insight into your favourite artist’s world but also have more possibilities to express yourself. and hands down, there’s no better way to learn than being taught by the masters themselves…

in the last entry i mentioned a very common mistake people make when they’re hiring a teacher. it’s simply a matter of what to expect. many people think that, as soon as they have a teacher, they’re off the hook – meaning they don’t have to learn it themselves. they rather think the teacher just fills their heads with the knowledge and the abilities needed in order to perform the task, like filling up an empty bottle – in which case there would be an active part (the teacher) and a passive part (the student). now this is exactly how it does not work. learning requires something from you. at the least it is to be (and stay) motivated and open-minded for the things to come. our brain wants to learn, it has a desire/an urge to learn – yes, yours as well – there’s just one catch: it has to be important!

when it comes to learning a new language, the vocabulary-drill is what people dislike the most. why is that? because it’s boring and not very effective. you’re reading a list of words over and over again, hoping to remember some of them in the end. your brain notices you don’t like it/find it boring, it concludes that this is not important for you and therefore goes into standby-mode. well, not exactly scientifically correct but something like that. now another example: imagine a campfire. now you reach out and hold your hand directly into the flame. in a split second you have learned something you will never forget for the rest of your life. that is efficiency. and why? because this lesson is important. now you don’t have to get wounded every time you want to learn something, it’s sufficient to just be motivated. make your brain believe that you want, want, want, want to learn this, that there’s nothing more important, sexy, joyful to you right now than this – and your brain will gladly comply.

now back to our question: you should expect from a teacher to show you what, why and how to do something in order to learn it. the doing itself though is up to you. of course he/she should know how to motivate, but with you giving a sh!+ about it, it’s all just wasted time…

a few more things: he/she should be able to protect you from doing harm to your voice, hands etc. and should know how to break things down into smaller steps or how to take a different approach if something is too difficult for you. he should answer your questions (ask them by the dozen – important !!! ). nobody knows everything but finding a way to solve your problems is his job. that’s one of the things i love most about teaching: questions i can’t answer right there, because that means i get to learn something too, yay!

and finally (for now…): it’s about you, not him!

Image via Wikipedia

alright, this is actually so freaking easy, but almost noone seems to care about this. it’s about how we learn….and i’m not talking about learning in school because that doesn’t really work. this is different in every country of course – even from school to school – but most of those systems aren’t very effective. well, there’s not much you can do about that and if you’re not in school anymore, it wouldn’t help you anyway :-)

so if you want to learn something, anything, you’re pretty much on your own. yes, you could find yourself someone to teach you – that’s where lots of people make the first mistake, but i’ll get to that one in another entry. but still, it mainly depends on you. now what? buying books? or dvds? there’s great ones out there but this is not what i’m getting at here. there is one thing that’s more basic, easier, doesn’t need any time or effort at all and it’s also for free. join my sect and i will lead you to the final enlightenment…..oops, sorry that was meant for another blog…

let’s take a look at how children learn. now what is the single most important aspect in that? come on……….correct: imitation! you just won a free lifetime-sect-membersh…dammit! now you might think: wait a minute! to imitate something or someone, time, effort, action is required! and you are right of course.

however, there is one aspect of imitation that is different: the subconscious one. to not get things mixed up and because it describes it better, i like to call this being stamped – shaped or formed are also fine. maybe there’s someone at work who says ‘oh, my god’ or even ‘o-m-g’ about ten times every minute and it’s driving you insane. and then after a few weeks you say this yourself. don’t believe it? investigate. you might be surprised about all the things you pick up along the way, but beware, you might find out things about yourself that are not pretty at all…

believe it or not we are being stamped all the time by our surroundings. our friends, colleagues, favourite tv-shows etc. are stamping us every single moment. don’t panic! because this can be a good thing. if this is good or bad basically depends on you. there is no way to stop this stamping-process, so just don’t bother trying…feeling helpless? need someone to light your…OH, FOR GOD’S SAKE!!! but what you can do – and that’s so ridiculously simple…you can choose who’s permitted to stamp you.

ok, you might not be able to choose your workmates but the rest is up to you. you decide which radio or tv station sprinkles you and you decide whom you’re hanging out with. if you have a violent temper, the texas chainsaw massacre might not be the best choice when you’re about to meet some nerving relatives of yours. go for Bob Ross instead.

needless to say this works not just for moods but virtually everything, meaning you can use this to become better at an instrument as well – or for whatever other thing you can come up with. so if you want to become a better drummer, listen to as much great drummers as you can. actually, you don’t even have to listen. just surround yourself with them, put their music in your stereo while you’re doing the dishes or even watching tv. it doesn’t have to be loud, let it be background noise – your mind will pick it up. don’t concentrate on it, don’t make it time- or energy-consuming, even ignore it. just let it be in the background while you’re driving, reading, making phone-calls…simply all the time and it will stamp you. guaranteed.

one more thing: it’s likely that you won’t notice your progress, at least at first. but others will and if you give it a little time, you will too…