I haven’t been writing a lot lately. In addition to playing, recording and working on a number of projects, I’ve been doubling down on my research in habit forming, short term skill acquisition, long term mastery, business development, entrepreneur vs. freelancer and thinking about THE BIG PICTURE.
This blog tends to focus more on the motivational / philosophical aspects of making music and playing guitar rather than how to play a specific lick or where to put one’s fingers on a guitar.
There’s a substantial amount of lesson material here, but write more about the WHY of guitar playing because for intermediate to advanced players, the WHY is much more problematic than the HOW or the WHAT. Understanding the WHY is also what will keep you playing guitar (or whatever other endeavor you want to insert here) past a certain point instead of moving endlessly from one temporary obsession to another.
Reactive vs Proactive:
At the end of every year, I tend to take a few days and take general stock of where I am, of where I’ve been, of where I’m going.
The big surprise for me this year, is that much of my life has been spent with reactive action driving proactive movement with an underlying need to play guitar as the catalyst behind it.
In other words – stumbling into a long term career instead of planning a long-term career.
I think this is how it is for most musicians outside of the classical world and I think it’s a mistake for anyone who wants to try to make this a career.
In the classical world, traditionally you were typically either a soloist or an orchestral player so your entire skill set development went into following those paths. Building repertoire and resume’s and moving up the orchestral ladder to ultimately get a coveted spot in a well regarded orchestra.
In contrast, consider the previous band success model of playing in multiple bands to finally get into “the right” band that built larger and larger followings and finally gets to the point where they reach the end goal of signing to a major label.
But reality has changed both of these models forever.
Orchestras are in increasingly difficult positions and more and more people end up playing in part-time capacities in a number of different orchestras just to try to make ends meet. The major labels are more selective than ever when it comes to artist signing and with most of them demanding 360 contracts with artists – they want a pound of flesh from artists with their signatures.
While some people will have the right combination of skills, contacts, timing and luck to be able to fall into a career – for most artists, the path can no longer be an auto pilot. But requires a plan.
Start With The Vision
The most successful things I’ve ever done in my life came through Reverse Engineering.
- Taking a desired outcome
- Working backwards from that outcome to determine the steps needed to get there
- Putting daily work in on those steps and moving forward on those goals.
Whether it’s having a goal to play like your favorite player or having a goal to be a full-time musician or desiring to be retired by age x – if you don’t have a vision of where you want to go then you will simply drift around aimlessly moving from one thing to the next.
That’s fine if you want to explore and see what happens. It’s not so great if you have things you want to get done.
Be Clear On Your Brand (and Re-brand when necessary)
I’m going through the process of updating social media, consolidating and getting ready to launch my new lesson approach / series and what cracks me up is how positively schizophrenic my CV is. It cracks me up because it makes the job of getting my name out and getting calls for various things almost infinitely harder than it needs to be.
For example I’ve played in Trip-hop, Hip hop, Metal, Rock, Pop, Country, Rockabilly, Jazz, Industrial, Art-Pop, Theatrical, Fusion, world music and a host of other genres. That makes me a generalist.
The difficulty in being a side person, for example, is that people look for people with specific skills in a specific genre. The guy who was a side man in a dozen metal bands is more likely going to the the person who gets a call from the band who needs a metal player unless they’re looking for something specific.
I have a very distinctive sound. If I’m playing something, you’ll know it’s me regardless of the effects or context. I’m typically the guy who plays with a lot of passion and can play a lot of notes. In teaching, I’m the guy who can identify blocks that students have and can help them overcome them. I have a specific voice for communicating things both in presentation and writing style. But when people are unclear on your brand, they’re unclear on what you have to offer and (here’s the important thing to being in demand forever) how you can help them.
After I spoke at TedX I was leaving the venue and one of the organizers came up to me and said,
“You know, when I saw that you were going to be speaking my first thought was, ‘Oh no! Why is he speaking? I don’t want to hear him speak! I just want to hear him play music.’ But then I saw your talk and it was really great.”
That’s what happens when people don’t understand your brand. People who saw KoriSoron might see me play electric and say, “I didn’t know you played electric guitar!” and people who see me play electric are surprised to find out that I play acoustic. Or fretless or saz or bass or any of the other things I pick up.
That’s why I now realize that it’s important to have projects that serve a long term goal, rather than have an expectation that people will be able (or even willing) to follow a narrative of what I’m creating.
There’s a business adage that, “It’s not who you know – it’s who know you”. An adaptation of that might be, “People can’t call you / see you / support you if they don’t know what you do.”
The new KoriSoron release will be out in February and I have some new things in the works. There will be some posts related to this year as the journey continues.
A lot of my teaching and a lot of my posts center on mistakes I’ve made and documenting them to help other people avoid the mistakes I made and (hopefully) shortening their own learning curve. With that in mind, I hope that this helps you in some way.
As always thanks for reading.
PS – I’ve mentioned it before but my new instrumental release with the Rough Hewn Trio is out now and you can purchase it in a pay-what you want model here.