Practical Steps to Performace Freedom, Part II

Who among us haven't been moved by a great performance? There is something that happens when a performer or group conveys their art so clearly and directly that we are just transfixed 'in the moment', where everything feels very slow and remarkably clear and present. And now, Part II of Practical Steps to Performance Freedom.

CHOOSING THE RIGHT VENUES 
 Most people have the experience of going out to hear music at a club, festival, or even a benefit, and think, "Gee, wouldn't it be exciting to perform at a place like this ? " Even though things may appear to be running smoothly, there are usually a host of problems beyond the ones mentioned above, that the performers are doing their best to manage. 

For those who are just beginning to perform, I would strongly urge you to consider opportunities that are either: 1) more controlled, 2) more supportive, or 3) more forgiving, or some combination of two of these. By controlled I mean that you can hear your playing and/or singing easily without straining, be in clear visual contact with your partner(s), be performing reasonably close to the time promised by the venue, and have had at least one rehearsal with the other players. A supportive environment is usually created when most of the people are either participating as performers or they are there specifically to support their friend's musical efforts. For here, the audience would value the contribution you're making more than your degree of technical polish. And a forgiving situation means that the person knows that they are not commanding focused attention, i.e. fulfilling a more background function. Part of your development as a performer will include acquiring the wisdom to distinguish between these three general types of performance situations. 

Here are some examples positive performing environments: 

• a performance class — or any class that includes a performance option at the end 
• a "potluck performance" — a pooled meal and opportunity to perform 
• a gift to someone's landmark event — a birthday, wedding, graduation, or passing 
• performing to help create ambience — a party, a dance class, or during a poetry reading 
• a "non -performance" environment — a community -oriented festival or ritual 

For many types of situations, having focused audience attention is essential for the performer. It allows all of the preparation and intention "to bake" and reveal essential strengths and weaknesses about the piece, and the performer. It also allows the performer to be powerfully witnessed and acknowledged. Simultaneously, performing in a more forgiving environment can be immensely liberating from the pressure of perfectionism, and allow a new performer to acclimate to the shifting sensations and phases of being on stage. The key here is to clarify which type of situation is most appropriate for the piece, or the level of the performer. Hence, it is not always the novice who will benefit from a background type of event. Maybe an experienced performer is working on new material, a different type of ensemble set -up, or even playing a more challenging instrument.

What is ironic is that environments that are billed as "low key" can be much more stressful, and hence higher risk, than what most professionals would likely encounter. An example that comes to mind is the "open mic" format that is found in many jazz cafes or clubs where vocalists and instruments wait their turn to play one or two songs. Very often, there are many variables that are left to chance — monitor mix, quality of the instruments on stage, accuracy of the printed music, degree of listening and musical communication present, etc. This is an example of an environment that is usually high in support (2), but very low in control (1). For novice performers, this might be exciting, tolerable, or unacceptable --- only experience will clarify this for you. 

"PERFORMANCE VICTORY" 
What is most important at any phase of your development is choosing your focus and purpose for a performance. A "performance victory" is making a clear assessment about where you are, what you have to do in your continuing development, and then following through on that plan. By stepping outside of your 'box', it may appear at first that you are going backward, but a deep voice within you will invariably lead you to your next step. For example, suppose someone has played keyboards for a long time in a Salsa band, and wants to broaden themselves by developing a more romantic approach to solo jazz piano. They might have been highly paid as an Afro -Cuban band member, but in order to act on their desire, they would do best to take a more forgiving (3) performance situation that would allow them to perform their new piano style for considerably less money. As their experience accrues, they become more confident and ready to apply for more high profile and (better paying) solo piano venues. This is an example of a "performance victory". Any performer who wants to continue developing would routinely ask these two questions: "What do I need to doing ? " and "Where would be the best place for me to do it ? " ...i.e., getting out of your comfort zone to "lay new track" as a performer. 

THE PERFORMANCE TOOL KIT 
Here are some valuable things to consider for your 'day of' preparations: 

1. List ways that you could free up time on the day of your performance by limiting activities you would normally do, or by moving them to other days (e.g. working a partial day, doing errands on a different day)
2. List activities or practices that you might indulge in that would affect your ability to be relaxed and creative at your performance (e.g. receiving bodywork, meditation, going to the beach, getting a support call from a friend or lover, etc.)
3. List all the things you will need to do, and people to call, the day of the performance, including warming up on your instrument/voice. Make sure that only things that need to be done the day of the performance are listed here.
4. List all the items that you will need for your performance to run smoothly. These may include the following categories: Instrument Related, Amplification, Recording/Lighting Equipment, Outdoor/Clothing/Personal Needs, Logistics, Marketing Items, Merchandise, Needs.

SCHEDULING GUIDELINES 
Effectively scheduling the things you need to do before your performance can make the difference between feeling relaxed and confident on stage, or being uncomfortably nervous and unable to put your music across convincingly. I recommend scheduling your performance day from when you get up to when you actually get on stage by "thinking backwards" (e.g. Performance Begins – 8:30 pm/Band Meeting – 8:15 pm/Sound Check – 7:00 pm/pick up bass player – 6:00 pm, etc.). Also include any appointments you've set up for the performance day, such as a massage. Allow more time than usual between your activities and appointments to ensure your performance day does not feel rushed and that it can absorb potential breakdowns and delays— they will happen! Find a coach who can help bring these tools to work with your instrumental and/or vocal training. As soon as you bring these concepts into your awareness, you'll be amazed at how much more you will be able to give to your audience, and in turn, to yourself.

Practical Steps to Performace Freedom, Part I

Who among us haven't been moved by a great performance? There is something that happens when a performer or group conveys their art so clearly and directly that we are just transfixed 'in the moment', where everything feels very slow and remarkably clear and present.

REMEMBERING LIKE IT WAS YESTERDAY...
I've attended countless performances, some of which have left permanent impressions on me. Here are a few that I remember like they just happened: the late Nubian master Hamsa El Din in a house concert, Brad Mehldau's jazz trio at Zellerbach Auditorium, the Bach Collegium Japan, a solo song by the Brazilian composer Guinga at Yoshi's Jazz house, the premiere of Ligeti's second book of Piano Etudes at Hertz Hall, and the "end-of-an-era" concert by SoVoSo at the Noe Valley Ministry. Each one has uniquely shaped my vision about not only performing, but also composing arranging, and bandleading.

PERFORMING, STRESSFUL?
And yet for most of us performing feels pretty stressful, especially at first. It's not surprising that most people in industrial countries find the specter of public speaking second only to death! And yet, somehow our culture has created the myth that performing is a simple, straightforward way of connecting with the different parts of ourselves and this gift to a receptive audience. This is a worthy goal work but for the vast majority of developing musicians performing at first feels more an Afro -Haitian dance in their chest! Even professional speakers(probably the least outwardly exertive performance art) experience physical changes, elevated pressure.

"PERFORMANCE LOSS"
I recall the first time I spoke to an audience as part of my band's very first performance in 1982. I was so nervous I thought the presenter would have to take me off stage on a stretcher! Now I find myself very comfortable relating to the audience in a relaxed, improvisational style — some have called it "stand-up band leading." This happened after many, performances and coaching sessions with highly skilled trainers.

There has been a parallel development with my playing and singing. I noticed that in the beginning I performed only about a third as well as I did in my best private sessions or group rehearsals. Over time I saw that gap becoming progressively smaller, and I remember joking to friends about my "performance loss" figures improving. (I also noticed that most of my students reported very similar experiences around their performing). I explained to them that a "performance loss" figure was the gap between my best rehearsal and a performance. It was only after many years of experience that my performances began to exceed what I was doing in rehearsals.

BEYOND THE MUSICAL ISSUES 
There is a set of skills just as important (if not more important) as your musical preparation. It involves taking note of every non -musical variable that could (and often does) show up as an energy drain and distraction to your performing. Some common examples are:

• not allowing for travel delays 
• not bringing some important item, like a set list or your music 
• not knowing the stage dimensions or sound system set -up not preparing for unusual lighting on 
• not having key spare parts of equipment in case of breakdowns
• not confirming a recent change of musical arrangement with other band members 

The more responsibility an individual takes on in an ensemble, the greater impact these items will have. And for vocalists, the issue of a thorough sound check cannot be over emphasized.

In Part II of Practical Steps to Performance Freedom: Choosing the Right Venues, "Performance Victory," The Performance Tool Kit, and Scheduling Guidelines. Stay Tuned...

Composing–Isn’t It Just Like Ironing Your Shirt? Part I

Composing–
 Isn’t It Just Like Ironing Your Shirt?

Persistent Composing Myths
When I mention to people that I help musicians develop their songs and instrumental pieces beyond what they thought was possible, they are usually enthusiastic. Yet, very often I’ll hear them follow up with a comment like one of these:

MYTH #1 – Composing can’t really be taught, it’s something mysterious that just happens to those who have “talent.” (Translation—only a small group of people are capable of composing).

MYTH #2 – Great composers started writing when they were very young. (Translation—composers don’t develop, they either “have it” or they don’t.)

MYTH #3 – If you don’t have a strikingly original sound, there’s no point to composing at all. (Translation—who wants to sound like any other composer?)

MYTH #4 – True composers need to have really suffered in their lives to be able to write anything that rings true. (Translation—isn’t that where the blues comes from?)

MYTH #5 – You have to have grown up in the culture that you’re drawing from musically. (Translation—non-natives are merely “musical impostors”.)

MYTH #6 – Real composers study The Masters for a long time before even trying anything on their own. (Translation—they’re called Masters for a very good reason and I’ll never be one of them.)

MYTH #7 – Studying composition is pointless because it will only get in the way of your creativity. (Translation—who wants to sound self-conscious, formulaic, or unfeeling?)

MYTH #8 – Composers write music because they can’t play an instrument. (Translation—composers don’t have the discipline to really learn an instrument.)

MYTH #9 – Why should I compose when I don’t have anything to say? (Translation—I have no value.) I’ve heard these comments and their variations for as long as I can remember.

They’re remarkably persistent, and they’re all myths, fostered by a culture that sends a parade of confusing messages about the creative process.

Frankly, the longer I teach composition, and compose, the less those beliefs have any validity.

I’ve seen many of my students, regardless of their interest(s), reveal how one or more of these myths have held back their composing in some way. Some are very aware of a particular myth from the first lesson, and for others a myth emerges after months of studying. When I explain that learning to compose is very much like learning how to iron a shirt, their faces always light up in surprise. In order to get that clean just-off-the-rack look, you’ve got to iron the shirt in many directions. And it’s the very same approach that I use for helping students expand their composing and creativity.

Stay tuned for Part II: My Combined Approach For Training

How Artists Can Better Talk To One Another About Their Art

How Artists Can Better Talk To One Another About Their Art

About four decades ago I took a class with an intriguing title, The Ethics Of A Performer.  It was taught by a very progressive composer and educator at my college, and it turned out to be the first time that anyone broached the question of how artists talk to one another.  Even though I had already done a fair amount of performing by the age of 19, I had never thought about how my communication could affect anyone.  What I noticed was that the older students had much more to say about the issues raised by the instructor, that they had seen (and felt) the effects of bad and good communication.  By the end of the class, many doors seemed to open, though the relationship between communicating, observing, and evaluating one's art only became clear after I had been teaching for quite a while.

So, why are so many artists reluctant to record and assess their works, and not just students?  Why is communicating with other artists about their work frequently a minefield of awkwardness?  After working with artists of all levels (and myself) for many decades, I created a model of communication that helps to untangle the dynamics of communication among artists, and create a more compassionate and clear model for sharing reactions.  Via what I call Full Circle Communication (F.C.C.),  you will become more practiced in the art of assessing your own work more fairly and constructively.  This will also help you to better receive and interpret feedback from others.

There are four steps to this, each one requiring expressed permission – from the person you’re speaking to – before going on to the next one.  Likewise, our goal here is to internalize this process so our relationship to reviewing our own work is more compassionate and thorough.  After all, this is what we as artists do, in a constant state of self-dialogue, no matter what conceptual or technical level we have reached.

STEP ONE: NEUTRAL/NON-COMPARATIVE ACKNOWLEDGMENT 

"Thanks for your (performance of) ________.”

"Your piece reminded me of when I ________.”

"Your work inspired me to finish ________.”   

STEP TWO: "WHAT WORKED?"

The question "What Worked?" is designed to elicit feedback about some aspect of your art, or someone else's, that is essentially very personal and subjective, yet uses language which is more clinical and detached in nature.  The insights that you can generate about art – yours and others – using this question, will nearly always transcend your own set of preferences and inevitable biases that come from growing up in a particular culture.

STEP THREE: "WHAT DIDN'T WORK AS WELL?"

This question allows the speaker to be clear and unapologetic about their reactions to what they feel a piece or performance didn't fulfill about its promise.  The wording of this is very specific.  Notice that it makes a reference to What Worked, by asking the audience member to examine the effectiveness of the work beyond their personal likes and dislikes, or their particular history within a medium or style.  Next, it assumes that the person speaking has already acknowledged aspects about the piece that DID work, which helps establish trust and respect.  Lastly, the use of “…As Well” helps to create a comparative tone which helps to attenuate the impact of any comment.

Again, in order for these comments to be truly useful, they need to be either:

1) invited by the artist, or 

2) offered only after the audience member has been given permission to give such comments. 

STEP FOUR: SUGGESTION BY SOLICITATION/PRESCRIPTION BY PERMISSION 

We have now come "full circle" in our communication cycle, and have arrived at the most problematic phase of artistic communication, yet potentially the most helpful (or destructive). 

Wording here is very important and safe phrases can take two forms, either 1) by way of stating something as a personal opinion, or 2) in the form of questions, neutral suggestions, or invitations.

"This is just my personal take on your piece…”

"What would really convey your vision for me would be to..."

"This may seem like something from left field, but what if you..."

"What would make a big difference for your piece could be..."

SUMMARY

F.C.C. is designed for communication as well as introspection.  I recommend that you say to yourself some of the very same phrases that you would say to another respected artist.  Isn't that really our job, when you get down to it?  We need to create a safe and productive milieu so that we can dig deeper into our art, make work that feels truly authentic, and take more risks.

Excerpt from Michael's forthcoming both

© 2013 Michael Smolens, Second Sight Music

www.secondsightmusic.com

An Unexpected Gap in my teaching ...

A couple of nights ago I was able to do something that I can only occasionally do > sing in a monthly CircleSinging group that has been meeting in an Oakland Church for nearly a decade. The large downstairs room not only was very resonant, but sound also rang through the entire bottom floor of the building—a singer's dream, for sure.

About mid-way through I was invited by the facilitator, David Worm, to improvise in the middle of the circle as well co-lead by creating new parts for the 40 or so participants. Fortunately, David and I sung together in my vocal group, The Mirabai Ensemble, for five years, and even though we have been a bit out of touch in the last year, it was remarkable how easy it was to swim in the waters of spontaneous composition. As many as six different vocal parts weaved their way into a beautiful mosaic, like a rain forest after a sudden downpour. Even though I was concentrating on all of the complexity and reacting to what was developing, I experienced time as moving very, very slowly. Within a couple of minutes my breath deepened and slowed down, not unlike what I feel like when receiving a good massage. To quote Neil Young, "And when it was over it felt like a dream..."

Spirit In Different Clothing...

I thought I would take a moment to answer a question that comes up in my conversations with people who are just getting to know me. You could say that it has to do with my range of musical interests, which have always been pretty wide.

Because I love composing and arranging, I've found that having different groups is the most inspiring thing I can do for drawing out new kinds of pieces. That's why I put together a totally out-of-the-box vocal group (The Mirabai Ensemble), a muscular mini-big band (The KRIYA Octet), an electro/acoustic world/jazz group (the earPlay Jazzquintet), a West-African fusion trio (Bal du Kor), and co-lead a group that features newly arranged jazz & pop standards (The Paula Bradman Quartet). I joke to people about having "A.B.L.S."—Acquired Band Leader Syndrome !

OK, so you're probably wondering what the question I get is ? It goes something like, "Why do you like to play for so many different kinds of spiritual and religious groups ? Don't their messages conflict ?"

Spirit can be felt in any kind of music, and I feel that the philosophical differences between these groups is about as important as the clothing that people wear—interesting as a first impression, but ultimately of very little very importance. So when I sing my arrangement of the Negro spiritual "Mary Had A Baby" in church, I'm feeling all that yearning from "the train a commin' in." When I recast the Jewish folk song "Artza Alinu", I am propelled by it's passion for the land. When I accompany the Sufi whirling dervishes, I am part of their spiraling into pure forgetting. And when I drum in an all-night fire circle, I am helping to propel Spirit into whoever needs this the most.

Being a 'musical chameleon' has always been very natural for me. And the more different kinds of performances I undertake, the more I experience all of the special moments as well as longer arches in each performance. (They're so rich in detail that someone could write a short novel about each performance !) As I become more present and more immersed in the spirit of contribution, the more I experience them as essentially the same...

From the Source comes many rivers, and from those many rivers, they return to their Source.

Well, the recent Bal Du Kor concert did turn out splendidly and my assistant Andrew managed to not only get a great live mix, but he also multi-track recorded the whole concert at the same time ! Ah, and then there was PG&E, who decided that Saturday night was the optimal time to work on a gas main (right next to our building, of course), and so I retaliated with a thoroughly twisted improvised monologue about PG&E and Harry Partch's 43-note octave scale (for good measure). I loved how the audience kept looking at each other like they had entered an old Twilight Zone episode. We also had fun premiering my new ukulele/melodica fusion outing,
"The Funky Cuke", along with Daniel's haunting piece, "Volar."

And because this was our first sit-down concert (vs. private or school event) I got to ask the audience what combination of instruments they wanted to hear for our last piece. Wouldn't you know it—they chose the marimba (balafon/Bal), talking drum (dun-dun/Du), and harp (kora/Kor). We have more fun planned the end of this month with an outdoor concert in the
East Bay...