spinning drum blog

So I have noticed differences between my left and right hand while playing. They have distinct characteristics, distinct scratching styles. Since my mixer returned I’ve been back to practicing with my right hand scratching and left hand transforming, as opposed to the reverse I was doing while waiting for my fader replacement. Now that I’ve returned to right handed transforming, I’ve noticed while my technique has quickly improved via my right hand’s dominant, quick study nature at any activity, my left hand’s scratching, though a little less dexterous in certain respects, has just the right amount of slowness that transcribes itself into a certain languidity on the decks. The result is a tad heavier but sweeter more bassy scratch. What I used to call left-hand lazy for its tendency to rest heavy on the transformer when learning how to crab or chirp was now beginning to parent a different sound while scratching, giving me another way to play.

While I used to joke my left-hand had all the zeal of a slug, I’ve become much more aware that speed isn’t everything; steady but sure can have a charm all its own. I feel blessed to discover that each hand has its own character, and breeds its own distinct style of play. So though I enjoy the lightening quickness and nimble feel of my right hand scratching a record, these days I find myself trying to incorporate the languidity of my left hand into the sometimes too quick motions of my right. I’m learning how to slow down and temper filler sounds, finding the control and thus space that shapes a musical mix.

It demonstrates the subtle variations that can be found in musical play. As one rubs the record back and forth one can find a variation of sound. Eq it, pitch it just right and follow the rhythm; it all rides on the weight of one’s arm, the speed of the throw and the particular finger friendly dance you are doing with the transformer. Repeating, starting, stopping, slicing, slurring and cutting sounds in infinite ways, the tablist recombines things into new beats and melodies.

Music creation and recreation is really like a circle – a sonic version of the pi concept- endless numbers of audio patterns spiraling out, always renewing itself, always remixing itself as both our mind and playing technique are continually redesigned by expanding song. New voices and sounds can be harvested from every place and sound. With a turntable we can rhythmically unfold any audio experience into music. Viva la spinning drum

For the science minded to understand what synapses fire whilst playing, check out Neuroimage
Laboratory’s site on the mind body connection in music – http://www.musicianbrain.com/index.html

The joy of making music is what I was put here for, I believe. And, and I kind of knew, I knew right away, once I’d started to kind of get it right, in the, in my teens. Once I started to experience the joy of getting a result from practice, the, this was my destiny, I suppose.
And, and I always, thank God, intuitively knew that music was the, the most important part of it. That it wasn’t what I could get from music, it was what I could give to it. When you asked me that question, now what is it like? Well, I wish people could experience what it’s like to be really focused on doing something musical, and, and have it work, and be in tune and harmony. And, and that can only come, I believe, if I’m in service of, if I’m serving music, rather than trying to manipulate it to my ends. – Eric Clapton

Some words to live by from Clapton who has spent a lifetime serving music and inspiring others to do so. Certainly anyone who has achieved that state of effortless grace in play, no matter what the instrument has had the realization that they are more a channel or tool than anything. Some may call it being an instrument of the divine or a slave to the music, but more accurately I think it reflects “effortless mastery.” The title of a book by Kenny Werner “effortless mastery” is obtainable by all and is fundamentally found in our approach to music. Mastery says Werner is playing a piece of music within your ability without thinking and playing it perfectly. His belief is one must break free of the demand for quick results and full range by learning to find the right mental space first and fully exploring music within your relm. One must achieve a state of relaxed play to truly experience the joys of musical fluency and mindless technique.

This book is a beautiful note of inspiration and a wake up call to wounded musicians and anxious performers, reaffriming the liberation to be found in musical play. Passages describing how there are no bad notes, others that decry the need to “sound good,” and the constant plea to acknowledge the master within and simply play, makes this book original and much deeper than your standard practice motivator. Taking the mystery out of good musicianship but putting the magic back in , “Effortless Mastery” is a must read for any musician who desires to achieve communion with both her or his instrument.