When Your Heart Isn't In It

[Robert Booth]

I'm primarily a livingroom player, and I find that the quality of my playing, both technical and soulful, vary with my mood. Sometimes my heart just isn't in it. I can, at that point lay down the instrument and do something else.

 

But what about those of us who have engaged to make music for the pleasure of others? What do you folks do to maintain the quality when you'd rather be doing other things, are tired, hungover, distracted, unlucky in love or any of the myriad of other things that could put you off your musical stride?

[Dieppe]

I'm primarily a livingroom player, and I find that the quality of my playing, both technical and soulful, vary with my mood. Sometimes my heart just isn't in it. I can, at that point lay down the instrument and do something else.

 

But what about those of us who have engaged to make music for the pleasure of others? What do you folks do to maintain the quality when you'd rather be doing other things, are tired, hungover, distracted, unlucky in love or any of the myriad of other things that could put you off your musical stride?

 

 

I hear alcohol helps. But only in moderation. Too much and then you get REALLY pissed and think you're doing great--when you're not!

 

But yeah, I've had that happen when practicing alone. I just can't get the mood, can't find a song I like, can't play anything from heart that I like... which means it's time to go outside or try another instrument or something.

[m3838]

"Fine Arts" artists need to be hungry, unlucky in love, poor, and downtrodden.

"Commercial" artists need to be well paid, happy and optimistic.

Oherwise it doesn't work.

But if you don't offer your art and don't move the hearts, you're not an artist and your mood doesn't matter.

Playing an instrument alone is not any different than drinking along, or playing sokker alone, or sleeping.

There's no need for lonies to maintain the mood. Otherwise you'll find the means to deliver.

[yankeeclipper]

This is what separates the amateurs and part-timers from the real professionals. Whatever they do, the pro's always put their hearts into it, (or at least render a damn good facsimile thereof). If you can't do it, you'd better get a day job.

 

As a career professional writer, I have to laugh at amateurs who blather about "writer's block." When a deadline is approaching and your living is on the line, there's no such thing.

[Hooves]

I'm primarily a livingroom player, and I find that the quality of my playing, both technical and soulful, vary with my mood. Sometimes my heart just isn't in it. I can, at that point lay down the instrument and do something else.

 

But what about those of us who have engaged to make music for the pleasure of others? What do you folks do to maintain the quality when you'd rather be doing other things, are tired, hungover, distracted, unlucky in love or any of the myriad of other things that could put you off your musical stride?

 

 

I think of this too, and I am amateur with no desire to be a "working musician" for me its compleetly just for fun.

 

A lot of music I listen to , Jazz and Blues, Improvisation is a key element, and even the best of the best have "Off Nights", though quite often thier "off night" is far better than your "best Night", thats why they are the highlighters and you are there to watch them, and hopefully eb amazed.

 

Pros make mistakes too, but they hide them well, and I find audiences presented with a live performer are often more forgiving then you might expect (unless of course the player truly is an amateur).

 

Even open mike amateurs get a round of applause, and it takes far more courage to get up behind that mic than most peopel will care to admit.

 

Just last night I had the pleasure to see Adrian Legg the famous guitar player: I got front row, dead center, he must have been a only 6 ft away. Fantastic learning oppurtunity, and some fine music to boot. Quite a friendly chap, with opinions and mind of his own, truly an artist.

 

So I imagine the working musician, who plays more in one week than you or I in 3 months, has got most of his tunes nailed down, and can lose him/her self in that moment we all want to be part of - when the songs seperate from the mechanical nature of digits and frets, buttons and stomping, and we are transformed, forever changed, etched into the curvature of the universe.

[m3838]

Curvature of the universe?

Deep stuff, my man.

[Mark Evans]

Very interesting replies gentlemen. Kool.

 

Robert, for me performning for people is like breathing. It is the only time I completely go to that magic place. There have been times Iève walked to the door feeling like hell warmed over for breakfast and before I have tuned up the banjo, limbered up me fingers on the tina,said lets not mess with a set list, I am 25 years old again. Professional, not any more. It feels more like an old horse having a rider ask for a canter and even though too old to do it, the beast picks the canter up and if asked goes right to the gallop.

 

Of course the drive home is another story for my real time age takes over .

Edited January 13, 2008 by Mark Evans

[hjcjones]

Mark Evans has put his finger on it, the presence of a live audience makes all the difference. Plus the knowledge that you have a responsibility to give them a good show, and your own self-respect also requires it. And don't underestimate the power of fear - stage fright can be used positively!

 

I find it much harder in my local session, at the end of a hard week doing a "proper job". My mind goes blank, and I can't remember any tunes. I end up either playing the same old stuff as I always play, or trying something half-remembered and making a hash of it. Fortunately, the other session musicians are in the same boat, and are sympathetic. We soon warm up, but until then it can be hard to get started.

 

I took a day of work recently to do some recording, set up all the gear, picked up the instrument and ... nothing! My heart wasn't in it, I couldn't summon any enthusiasm, and my playing was rubbish. I packed up and took the dog for a walk instead.

 

But at a gig, I never have a problem, even if I've been at work all day. By the time we've finished the sound-check and the audience is in, the adrenaline's up and I'm raring to go!

[Phantom Button]

Whenever people come to me for lessons I ask them if they're obsessed. Their reaction to this question usually indicates how long they will stick with it and whether they'll become good players. If they don’t hesitate and confess enthusiastically – they’re the ones who will stick with it. If they say it’s something they saw someone play or heard and liked it and they’re just curious and want to learn a little more etc. – they usually drop of after a while.

 

I think an irrational obsession is what makes the difference and keeps you interested and working at it long enough to learn it to the point where it becomes effortless to play and an expression of your love for the music. At least that’s how it works for me.

[Bob Tedrow]

Whenever people come to me for lessons I ask them if they're obsessed. Their reaction to this question usually indicates how long they will stick with it and whether they'll become good players. If they don’t hesitate and confess enthusiastically – they’re the ones who will stick with it. If they say it’s something they saw someone play or heard and liked it and they’re just curious and want to learn a little more etc. – they usually drop of after a while.

 

I think an irrational obsession is what makes the difference and keeps you interested and working at it long enough to learn it to the point where it becomes effortless to play and an expression of your love for the music. At least that’s how it works for me.

 

 

Ha,

 

I ask my students if they can summon a mild obsession and a measure of tenacity. I think that is more important than an equal measure of "talent" if there is such a thing.

 

I further posit the only (ONLY) activities that feel just right when first attempted are either illegal, immoral or fattening. Skills must be developed to be enjoyed.

 

That separates the wheat from the chaff and sends the occasional student running.

[JimLucas]

I'm primarily a livingroom player, and I find that the quality of my playing, both technical and soulful, vary with my mood. Sometimes my heart just isn't in it. I can, at that point lay down the instrument and do something else.

It's hard for me to empathize. Sometimes my fingers aren't up to my best, or good enough for what I'd like to do at the moment. Sometimes even my voice. And there are times when I'm not "in the mood" for particular songs or pieces... but never am I not in the mood for making music. And unless I'm flat-on-my-back sick in bed, there's always plenty of stuff, however simple, that I can enjoy playing and singing.

 

But what about those of us who have engaged to make music for the pleasure of others? What do you folks do to maintain the quality when you'd rather be doing other things, are tired, hungover, distracted, unlucky in love or any of the myriad of other things that could put you off your musical stride?

The same as above also applies here, though I don't make my living from performing; I only do it occasionally. I may try new or half-baked numbers when I'm feeling "hot", but there are enough numbers in my repertoire that I know "cold" that I can still do a creditable full evening even with a sore throat and numb fingers. Details and nuance on familiar numbers may not be the same as on a more comfortable night, but they're never quite the same twice, anyway. The performance is molded by the 4-way interaction among 1) the numbers I choose, 2) my ability and 3) mood of the moment, and 4) the audience.

 

But for performing it is important to have numbers you can do "without thought", so that you can use your "thought" to adjust the performance to the character of the moment. As the saying goes:

An amateur practices until he can get it right.

A professional practices until he

cannot

get it

wrong

.

When performing, I try to act "professional".

[Fiddlehead Fern]

My "Professional" experience is limited to being background noise at a colonial dinner once. Other than that I play for myself, with or for my friends and now and then for people in the community with my mom.

 

When I have to practice, it doesn't matter what mood I'm in, it has to be done. When I have as much time as I want and I'm having a hard time, I usually just loosen the bow hair and read or write for a little bit. When i'm playing with others, I either decided that I'm just not up to it, or I try to forget bad things and have a good time.

 

Oh, and as far as playing when one is sad? That's usually a time when I need to do something like make music.

[david_boveri]

I'm primarily a livingroom player, and I find that the quality of my playing, both technical and soulful, vary with my mood. Sometimes my heart just isn't in it. I can, at that point lay down the instrument and do something else.

 

But what about those of us who have engaged to make music for the pleasure of others? What do you folks do to maintain the quality when you'd rather be doing other things, are tired, hungover, distracted, unlucky in love or any of the myriad of other things that could put you off your musical stride?

 

i'd never rather be doing anything else! i even skip meals to find time to play.

 

the only way to maintain quality is to constantly pay attention to what you are doing and how you are doing it.

 

attention is constantly searching. every second. it's always looking at what you are doing, how you are doing it, and more importantly, never pausing, always searching. you need to constantly pay attention when you are playing music. you shouldnt ignore your distractions, as they are one of those things you should pay attention to. you shouldnt discriminate between what you should be paying attention to and what you shouldnt be. the only thing that matters is that you are paying attention at all.

 

you heart isnt in music because you're not paying attention to what you're doing. there's nothing wrong with distractions! pay attention to them, along with everything else, and you'll quickly get that motivation and energy that you're lacking.

Edited January 13, 2008 by david_boveri

[Alan Day]

I'm primarily a livingroom player, and I find that the quality of my playing, both technical and soulful, vary with my mood. Sometimes my heart just isn't in it. I can, at that point lay down the instrument and do something else.

 

But what about those of us who have engaged to make music for the pleasure of others? What do you folks do to maintain the quality when you'd rather be doing other things, are tired, hungover, distracted, unlucky in love or any of the myriad of other things that could put you off your musical stride?

 

i'd never rather be doing anything else! i even skip meals to find time to play.

 

the only way to maintain quality is to constantly pay attention to what you are doing and how you are doing it.

 

attention is constantly searching. every second. it's always looking at what you are doing, how you are doing it, and more importantly, never pausing, always searching. you need to constantly pay attention when you are playing music. you shouldnt ignore your distractions, as they are one of those things you should pay attention to. you shouldnt discriminate between what you should be paying attention to and what you shouldnt be. the only thing that matters is that you are paying attention at all.

 

you heart isnt in music because you're not paying attention to what you're doing. there's nothing wrong with distractions! pay attention to them, along with everything else, and you'll quickly get that motivation and energy that you're lacking.

 

Not sure I agree with this.Sometimes it is worthwhile putting the concertina gently in it's box and doing other things.I detect a bit of depression and possibly loneliness,this does not sort itself out sitting at home playing constantly on the concertina.It does not introduce you to the person who makes you lucky in love.It does not find you a new job, if you are made redundant.You need to take action to sort it out and this can be the turning point of your life.If of course you sit at home ,the perfect woman,job, or a group of like minded musicians to form a band or session,will not come knocking at your door.

The concertina has to be part of your life not all of it,

Al

[David Levine]

If you love what you're doing how difficult can it ever be?

How can your heart not be in it?

Sometimes I have gig nerves when I'm going solo.

But when I'm with the band of the moment I'll be making music with my friends.

I'm not crazy about being on the road.

There's nothing very glamorous about a five-nighter and a cheap motel and crappy food.

But Willie had it right (no cheap motels for him these days) when he said

On the road again

Just can't wait to get on the road again

The life I love is makin' music with my friends

And I can't wait to get on the road again

[PeterT]

Not sure I agree with this.Sometimes it is worthwhile putting the concertina gently in it's box and doing other things.I detect a bit of depression and possibly loneliness,this does not sort itself out sitting at home playing constantly on the concertina.It does not introduce you to the person who makes you lucky in love.It does not find you a new job, if you are made redundant.You need to take action to sort it out and this can be the turning point of your life.If of course you sit at home ,the perfect woman,job, or a group of like minded musicians to form a band or session,will not come knocking at your door.

The concertina has to be part of your life not all of it,

I am sure you are right, Alan. However, when your obsession is the concertina, and your heart is not in it, what then?

 

Regards,

Peter.

[Alan Day]

Not sure I agree with this.Sometimes it is worthwhile putting the concertina gently in it's box and doing other things.I detect a bit of depression and possibly loneliness,this does not sort itself out sitting at home playing constantly on the concertina.It does not introduce you to the person who makes you lucky in love.It does not find you a new job, if you are made redundant.You need to take action to sort it out and this can be the turning point of your life.If of course you sit at home ,the perfect woman,job, or a group of like minded musicians to form a band or session,will not come knocking at your door.

The concertina has to be part of your life not all of it,

I am sure you are right, Alan. However, when your obsession is the concertina, and your heart is not in it, what then?

 

Regards,

Peter.

Start planning a CD

Al

[Mikefule]

A feeling is just a feeling. You can make a decision in advance as to what you will do when that feeling takes over.

 

What I do is I practise a very simple tune I know with quite easy but "rich" harmonies. I can play it more or less without thinking, and its repetitive nature makes me start to experiment a little with the timing of the accompaniment, and splitting the chords into single notes, and so on.

 

Then it sort of spontaneously leads into another tune.

 

And I also set myself a goal of playing each of a set number of familiar tunes.

 

10 minutes with something specific achieved is better than 20 minutes of getting grumpy that you're playing badly. But following these strategies might actually result in your fingers livening up a bit, because you've taken away the pressure to enjoy playing, and replaced it with a simple plan to play X, Y and Z.

 

Even playing just two tunes a day is better long term than "binge practising" once a week, or when you feel "in the mood".