February 15, 2017 – Diamonds in Experience

Frozen diamonds greeted my bare feet this morning. Refreshing to the toes and soles, I delighted in the sensation of those crisp, frozen water nodules crackling underfoot. It sleeted sometime in the night–just a little–and it coated the truck, the drive, the ground with glowing shimmers.

Experiencing what we, in zentao, call ‘moment’ keeps me vital and life enraptured. For me, that’s important for my writing, my artwork, and, yes, even for playing my husband’s music. It keeps me enthused and refreshed. Without those experiences, what would life become? Just drudgery and duty? I don’t know.

I do know that I’m never bored, never lacking passion. There’s always something fresh and new to me. For me, experiencing compounds a desire to learn more, and, then, to express anew in word, in sound, in imagery, through my art, my novel writing, my musical performances.  So, no, never lonely, never bored.

Life is full and sweet, full of delight. It’s also, of course, filled with hardship, toil, and danger, but, even inside the frenetic and the frantic, there lives ‘moment’–the play of light and shadow, the scent of soil, of wood, of sweat or blood or mud, yes, even muck, the sound of snapping wood and of the storm wind’s turbulence, the sting of frozen fingers thawing, the taste of terror fading on the tongue as panic eases. There’s always something to stimulate an awe in me.

I guess that’s why I’m flummoxed when acquaintances arrive, bemoaning loneliness and boredom. Even when I worked at a job requiring me to perform repetitively like some machine, I never experienced what they suffer, so I never know quite what to do or say. It’s not a shared experience.

White Bread

WhiteBreadTc“Could you play it a little less ‘white bread’?” Forrest asks, his eyes kind, but steady on mine, his fingers, as always, delicate in their grip on the neck of his newest guitar, a beautiful instrument that sounds as exquisite as it looks.

We’d just finished a run through of ‘Cheap Sunglasses’ and, despite it being a challenging piece for me rhythmically, I’d done a pretty darn near perfect, note-for-note performance of it.

I blinked, stared, blinked again. “Ah…oka-aay,” I said, hedging.  “Which part?”  I asked this because, honestly, I know I’d just done it as written.

He tells me.

I blink.

He’s talking about two embellished notes, same pitch, the first three-sixteenths in length coming a sixteenth after the fourth beat and a quarter note coming on the one beat of the next bar.

He explains what he wants, then demonstrates it vocally.

I nod. He starts the riff; I come in when I should, mimicking his vocalization.

“Not really,” he says, stopping, again.

I laugh. “Okay. What, then?”

Feel it more.”

He starts moving his fingers, playing out the riff, his head bobbing in that just-off-the-beat kind-of-way that seems pervasive among rock musicians. He looks at me, his eyes urging me to come in.

I do.

He stops …shakes his head. “Feel it. Don’t count it.”

“Oka-aaay.” I try again.

A huge sigh answers that attempt. “Could you try not playing it like a classical musician? …Try playing like a …a….” He shrugs. “…LIke you don’t have a rod up your backside.”

By now, I’m practically giggling in gleeful hysteria (Very inappropriate!). Damping down my giggles is taking supreme effort. “But I am a classically trained musician.” Then, more soberly: “And I’m really trying, here.”

“I know….” He groans. “…But it’s just so…’white bread‘!”

He’s getting exasperated. Perfectionist that he is, I know how serious he means this. Still, I can’t help myself: “I like white bread,” say I.

His eyes flash. “You don’t even eat bread.”

“That’s true.” (I’m grinning, and I know that exasperates him even more, but, honestly, I can’t help myself.)

“Then, don’t play white bread!” he practically bellows.

I sigh. Watch him fondly. Finally, I shrug a bit. “Hon-, I can only do me. I’m not a ‘bro-‘. I ain’t got no rhythm that way. But I did play with Santana for a few weeks long time passing, and they loved my playing.”

“It’s too ‘white bread’,” he repeats. Emphatically.

“Yes, dear. I’ll work on it.”

…Anyone know how to make white bread brown?
Azumi_flute

With Laughter…at Myself!

BlackHoleSun2DLKeur5-24-2016Stripweb

We’re doing my husband’s arrangement of a tune called Black Hole Sun by Soundgarden. Our instruments are flute and guitar, electrified flute and guitar, that is. And effected. It’s a seemingly easy piece to play. Not much technical difficulty there, no. Not at all. Unless you want it to sound like ‘something’. And, both of us, professional musicians and extremely picky about ‘getting it perfect’, insist that it sound like ‘something’. Which it certainly does when I’m playing analog, or even just mic’d up. Add in ‘all the other stuff’, and things fall apart for me.

For me, a piece as unchallenging as Black Hole Sun is a snap to play first time, everytime…until you add in, not just the headset, but a 14 switch, ten knob, 15 button, 10 toggle stomp box with a chain of yet other myriad effects via other, smaller stomp boxes, added into the stomp loop. Suddenly, what was simple becomes overwhelming. I’m an analog player. My entire life, I just picked up my flute, warmed-up, put my music up on the stand, and off I went.

Classical musicians have it easy. Yes, we do. Just master the instrument, intonation, the music, pay attention to the conductor, and there you are, and, yes, I’m a classical musician. I get totally lost amidst the toggles, switches, knobs, and buttons of the electronics we use in our performances. And, when attempting to get the right toggle toggled, the correct switch switched, the appropriate knob turned x amount of degrees, and the necessary button depressed, well, things go south for me in a hurry.  Then, there’s the issue of mic feedback! If I move my flute just the wrong way, suddenly that gain setting that we worked so diligently to set doesn’t work anymore. Expensive flute acts like some sort of signal amplifier or antenna or something. Then it’s dive for the soundboard or, if I remember, the stomp box patch #1, any bank, before I don’t have any hearing left.  Whew!

It is no fun being the neophyte in a world where electronic effects and amplification ‘make’ the sound, the instrument mastery an expected given. If I ever hear another classical musician moan about how hard their job is, a job that only entails mastering their instrument and their repertoire, then attending the conductor, I think I’ll invite them to sit in on one of our sessions and watch them go into meltdown.

Copyright 2016 DLKeur
Copyright 2016 DLKeur