Final Thought

Jared’s blog, star date unknown.

it seems i have made a grievous error by not grasping the opportunity to fully utilize this blog. i now understand its value and the personal touch.

The thing that most strikes me is that these thoughts and articles i have explored mirror my own so vividly that i cant help but feel inspired. the people that write them share something with me, and the affirmation of this (just through experiencing it) soothes the feelings of inadequacy i would normally deal with.

talk is cheap though, its time to act.

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My jaw has dropped

My poker face is usually pretty top notch, however this arts bizzo isn’t about being thick skinned, its almost about wearing your heart on your sleeve. but how do we get so brave to be so outwardly honest? and how do we back our work to the fullest while remaining this honest to ourselves?

This is a delima i have faced as long as i remember.

though perhaps not a full answer, this exceptional blog has provided me with a earning to  be more open about what i am creating, or even thinking of creating. It has contained two of the most profoundly powerful things I have ever read in relation to success in music

I think you should read it too. I think you will like it. I know it’s hard to make the change from random practicing to a structured methodical schedule.

I wish I had read this a few years ago to be truly honest. Here’s the best bit (its actually all of it, I don’t care you need to see this)

http://musiciansway.com/blog/2013/05/the-power-of-a-practice-schedule/

“Consistent, deep practice is the rocket fuel of musical development.

When we live by regular practice schedules we reap countless benefits.

Here are 6 major ones.

1. Insight
Our devotion to practice sharpens our artistic insight because our creative faculties get ongoing exercise.

2. Energy
During the periods between practice sessions, we know when we’ll practice next, which helps us keep our musical goals in mind, adding to our creative energy.

3. Pacing
when we know that specific times are set aside for practice, we can better pace our learning.

4. Productivity
Consistent practice enables us to be maximally productive day after day.

5. Motivation
The productivity we gain bolsters our success and amplifies our motivation to work.

6. Balance
because we carve out periods to practice, we can also set aside time for self-care, relationships, career development, and more. As a result, we grow as artists, and we live balanced lives in the process.”

It’s so curious that the excuses to not practise are the same as the rewards of practising. I strongly recommend adopting a practise schedule, let it grow and change as you do.

The other article that captured my attention was this one about creating value in society.

http://musiciansway.com/blog/2013/06/the-secret-to-sustainable-music-careers/

Again, I really don’t care that its copied you do need to see it.

“Creating Value – An Exercise
If you’re unsure how you might multiply the value of your work, here’s an exercise I use to help musicians:

  • List 3 or more ways you might build new audiences for your current work
    (e.g., perform or teach in unconventional venues; contact presenters outside of your comfort zone)
  • List 3 or more ways you might adapt your current work to appeal to new audiences
    (devise concert programs geared to niche audiences; explore new sorts of collaborations)
  • List 3 or more new skills you might develop that would enable you to expand your audience
    (investigate new styles; acquire the ability to teach and perform for different age groups; learn to do online marketing)
  • List 3 or more people you might consult for advice on how you could create greater value
    (former teachers; current colleagues; established pros)”

I’m presently working on this exercise and I encourage you all to as well.

The aspect of this that “made my jaw drop” was the fact that the author doesn’t once mention cash. Value is represented by the people who share in your creative products. “We don’t “sell out” because lasting value in the arts arises from authentic creativity, not artificiality.”

value is therefore in the people my art touches, not in the money.

What is essence in me is essence in others, i know my work will have a value to the people of the world that feel and think the way i do, and i feel that this knowledge will help to keep me grounded throughout my journey.

Fast and Loose is it?

Perhaps not, perhaps legit is good. perhaps there’s no perhaps about it. Thats enough of that.

like i said i like to do it right. and as my name is on the line i think i should only do it right when it comes to music, and settle for nothing less.

http://www.indiemusicdigest.com/What%20makes%20for%20an%20Effective%20Band%20Manager.htm

What makes an Effective Band Manager?

This article didn’t contain a lot of info I didn’t already know, however it serves as a lovely refresher. I’m pleased that it stressed the need of ethical and fair behavior from anybody that holds a “manager” position and how the consequences of an unethical/over aggressive management behavior can have serious implications for the band members and their reputation as a band.

As I plan on managing my own covers project after leaving Whitireia I feel it is vital to understand what is expected of a professional.

http://blog.beckitrue.com/http:/blog.beckitrue.com/2009/09/13/how-to-encourage-accountability/

How to Encourage Accountability

I enjoyed reading this article. As I will be the musical director of my funk band I need to be sure that the musicians I work with are not just capable and willing, but are also accountable and developing this trait.

Like resilience and confidence, accountability comes from being accountable. This info should help me to encourage accountability, and to also further develop my own.

http://www.ehow.com/how_5075419_play-funky-bass.html

How to Play Funky Bass

This serves as a written version of Bootsy Collins Funk lesson 101. It also includes all the side notes and script to Bootsy’s performance in this video (the video needed to be short and sharp, not time spent talking about metronomes or tempos). I plan on utilizing this in my practice routine.

http://www.youtube.com/watch?v=IHE6hZU72A4 bootsy version

http://www.youtube.com/playlist?list=PL29A7D1103791A87F

 

How to be a pro bassist video collection

These videos are great. They draw attention to differences between cowboys (for want of a better word) and professional bass players. Even things like string changing can make the difference between getting the gig or not.

http://www.kingbass.com/soundtips.html

These sound tips are choice. Tone and meshing of tones is going to be a necessary element that I will need to be aware of when rehearsing my band. It will also contribute to the overall groove of the performance and therefore the excitement of the show.

It mentions (and rightly so) that bassist have often relied on the sound engineer too much, and neglect to realise that this is a two way street. We have to be aware of how each venue and room is a physically different space made from difference materials.  These aspects will affect our tone, the ‘throw’ of an amp and the possibly the overall enjoyment of an audience.

https://www.artofgroove.com/groove-bassics-1.html

I found this to be an excellent resource however it is not a free one so my enjoyment of it was limited. It costs for a reason as the material is of a high standard and the attention to detail is of a high degree. I can see how this would be a cost effective teaching method and certainly and easy way to develop ones bass skills without a tutor (multi-instrumentalists would be a key audience of this approach) however I wouldn’t doubt that there’s an amount of plagiarization/reverse engineering that must occur

lets see how this all works

this blog thing is so foreign to me. i think I’m scared to excist as page on the interweb.

rather then re inventing the wheel however, I’m just going to approach it how i approach playing bass; copy the best.

 

Though perhaps not an artist’s blog, this article written by Flea (Bass player for the red hot chilli peppers and a key musical idol of mine) about the Tesla Roadster was very interesting.

http://www.teslamotors.com/blog/handing-over-keys-iv-michael-flea-balzary

Flea believes in harnessing new technology to enrich our lives. This same belief shows in his musicianship, as he uses basses made of new materials (carbon fibre, synthetic woods) and his pioneering and popularization of Funk rock/ Funk metal genres.

I found it curious that he is a contributor to this blog (though perhaps an encouraged one).

 

I actually really like Victor’s blog. Having already read his book I’m aware of his values and philosophy around music. This blog includes nothing like that, it has his tour dates on it. I guess if you know who he is like I do (which I don’t) or are as inspired by him as I am, all you really want to do is see him play.

http://victorwooten.com/blog/?p=152

 

I have been searching for Tal Wilkenfeld’s blog for a long time, and having not found it I did find an article on her posted to this blog.

http://livemusicblog.com/2012/06/26/feature-tal-wilkenfeld-a-goddess-of-bass/

It serves as an arena to comment on live music and the big players in the music scene today. The article on Tal was interesting and the point of view of the writer is to celebrate the prowess of up and comers. however as Tal happens to be a prodigy (not just an up and comer, shes all ready played with some of the most massive names in music) the title “goddess of bass” doesn’t leave her a lot of room to grow, perhaps someone is just a little overwhelmed =)

Hello and warm welcomes

My name is Jared king, I am a Bass player in my final year of study at Whitireia Porirua, and for the course for this year I will be exploring the funk genre intensely.

I have been playing bass since I was 15 years old, studying it since 17 and getting ready to make a real presence in the NZ music scene 2014.

My belief is that if it’s worth doing, it’s worth doing right. Funk bass is worth the time, and the insistent metronome clicking will serve as the count down to the end of my degree and my final performance in early November.

I plan on deeply researching Bootsy Collins and bands he’s played in such as Parliament, Funkadelic and Bootsy’s Rubber Band. I also intend on exploring how pioneers like him have effected modern bassist’s styles and approaches to playing. The key to this is going to be Larry graham, the inventor of slap bass.

Larry graham is listed as one of Fleas key influences. Bootsy as one of Juan Nelsons. These two bass players inspire me more than most others do, so exploring what inspires them should be a rewarding task. Having already studied Juan Nelson and feeling limited by my lack of funk vocabulary (in my playing) I knew that the answer exists in the oldies and in what is already known about funk playing.

I hope you enjoy reading my ramblings, my curious sense of humour and my satirical one liners (or perhaps they should be bracketed due to formatting issues)

But just remember, “It ain’t funk, if it ain’t fun, k?”