SCHOOL OF ED (3) Playing quality music - July 19, 2005
The elements that go into playing quality music.
Jeff Thompson, one of the few musicians I have worked with, and continue to work with who actually gets “it”. Always a treat to play music or just hang with Jeff AKA Chicken commented:
"Nothing is truly original...and if it was, it would probably suck" --Ed Vadas. This is one of the best quotes I have ever heard, because it works on so many levels… Finally, it hits home as to how it feels playing on stage with Ed. My drum set turns into my mouth (this only happens with Ed by the way), and I find myself talking to Ed, through the drums, about some interesting, odd or obtuse subject. Sometimes we are joking, sometimes we are angry, sometimes sad, and sometimes we are not sure. It works because we are talking. For me, playing with Ed is not about understanding it, it is about knowing I do not, just like you will never understand your wife, but you make a great couple.
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The way I see it:
Quality music is made by people who employ the following elements (there are probaly more, but this is a good start):
· KNOW HOW TO LISTEN
Use your ears to anticipate sudden changes and opportunities that may occur within a given piece.
· TRUST YOUR INSTINCTS
Trust your subconscious mind to lead you in the right direction. It will, as long as you have tended to the conscious aspects of playing
· PLAY BEYOND THE WORLD OF YOUR INSTRUMENT TO WHAT IS HAPPENING ORCHESTRALLY
Try to understand what the other players are doing. It will make it simple to always being in the right place at the right time doing the right thing
· WILLINGLY SACRIFICE EGO FOR TASTE
On every song, a technically equipped player will be able to play a fancy “New York Strip Steak” when “Meatloaf” would be a better choice.
· PAY HOMAGE TO THE GENRE BEING PLAYED
Again, if the song is a 1935 blues tune, do not be playing like 2005 jazz-nut unless the leader says he wants to up-date the tune. Be creative, but stay in the genre, the other stuff most often doesn’t sound right, except to the player, and is just to easy to do.
Staying as true as you can to the genre and date of the song is more difficult, and rewarding
· DESIRE ACCEPTANCE FROM YOUR PEERS AS WELL AS THE AUDIENCE
Ever sit in with a band and when you are through, the people in the band say, “Sounds great man!”? Where I am from professionals say that and most often mean “I hope I never have to play another note with you!” You know you were exceptional when the band says things that are musically specific to what you did.
· ALWAYS ATTEMPT TO PROJECT YOUR SELF THROUGH YOUR INSTRUMENT WITHIN THE EXISTING MUSICAL CIRCUMSTANCES
To do this is to play from the heart, honest and true, setting aside the conscious for the subconscious. Even if a player is just playing a simple part, the attempt to tuck it all in with what is happening requires the special quality of projecting yourself through the simple part, thus elevating it to a special status.
LAST BUT NO WAY LEAST...PAY CONSTANT ATTENTION THE SOUND AND BALANCE. If the band is too loud...people leave. If the voice is soft and the guitar to loud, they are gone... too piercing, too much bass...
good=bye. It may be hard to take, but, most folks would rather be in a room with a crappy, in balance, not too loud band, than a great too loud band that is out of balance...and dat's da facts JACK!
Jeff Thompson, one of the few musicians I have worked with, and continue to work with who actually gets “it”. Always a treat to play music or just hang with Jeff AKA Chicken commented:
"Nothing is truly original...and if it was, it would probably suck" --Ed Vadas. This is one of the best quotes I have ever heard, because it works on so many levels… Finally, it hits home as to how it feels playing on stage with Ed. My drum set turns into my mouth (this only happens with Ed by the way), and I find myself talking to Ed, through the drums, about some interesting, odd or obtuse subject. Sometimes we are joking, sometimes we are angry, sometimes sad, and sometimes we are not sure. It works because we are talking. For me, playing with Ed is not about understanding it, it is about knowing I do not, just like you will never understand your wife, but you make a great couple.
**************************************
The way I see it:
Quality music is made by people who employ the following elements (there are probaly more, but this is a good start):
· KNOW HOW TO LISTEN
Use your ears to anticipate sudden changes and opportunities that may occur within a given piece.
· TRUST YOUR INSTINCTS
Trust your subconscious mind to lead you in the right direction. It will, as long as you have tended to the conscious aspects of playing
· PLAY BEYOND THE WORLD OF YOUR INSTRUMENT TO WHAT IS HAPPENING ORCHESTRALLY
Try to understand what the other players are doing. It will make it simple to always being in the right place at the right time doing the right thing
· WILLINGLY SACRIFICE EGO FOR TASTE
On every song, a technically equipped player will be able to play a fancy “New York Strip Steak” when “Meatloaf” would be a better choice.
· PAY HOMAGE TO THE GENRE BEING PLAYED
Again, if the song is a 1935 blues tune, do not be playing like 2005 jazz-nut unless the leader says he wants to up-date the tune. Be creative, but stay in the genre, the other stuff most often doesn’t sound right, except to the player, and is just to easy to do.
Staying as true as you can to the genre and date of the song is more difficult, and rewarding
· DESIRE ACCEPTANCE FROM YOUR PEERS AS WELL AS THE AUDIENCE
Ever sit in with a band and when you are through, the people in the band say, “Sounds great man!”? Where I am from professionals say that and most often mean “I hope I never have to play another note with you!” You know you were exceptional when the band says things that are musically specific to what you did.
· ALWAYS ATTEMPT TO PROJECT YOUR SELF THROUGH YOUR INSTRUMENT WITHIN THE EXISTING MUSICAL CIRCUMSTANCES
To do this is to play from the heart, honest and true, setting aside the conscious for the subconscious. Even if a player is just playing a simple part, the attempt to tuck it all in with what is happening requires the special quality of projecting yourself through the simple part, thus elevating it to a special status.
LAST BUT NO WAY LEAST...PAY CONSTANT ATTENTION THE SOUND AND BALANCE. If the band is too loud...people leave. If the voice is soft and the guitar to loud, they are gone... too piercing, too much bass...
good=bye. It may be hard to take, but, most folks would rather be in a room with a crappy, in balance, not too loud band, than a great too loud band that is out of balance...and dat's da facts JACK!