Don't make changes to your music based on someone's negative opinion. Make changes when they feel right to you. Painting: Road to Music by Ed Sandoval

One of the biggest problems that musicians face is holding on to their own musical identity and integrity. It’s often tempting to bail out on your own direction and capitulate to an agent, an audience, a label, or society in general.

Even with my experience in this business, I continue to be surprised by how a negative or even a neutral comment will often throw me out of balance. If someone says that my new CD “Freefall” is “nice,” it throws me. If someone doesn’t like my direction, my style, my songs or my sound, I feel emotionally like I should change what I do – what I am to please them.

The logical side of me knows that this is not true. But the logical side isn’t the only side that operates. In the arts, it’s probably not even the most important side.

I love Bill Evans’ comments on the November 6, 1978  Marian McPartland radio show. He said: “We must look at it as art. Otherwise, we’re going to get so confused because there are a million things you can do and so you just have to perfect your own art and hopefully, there’ll be room for it.”

Find the audience that likes what you like. You will never turn everyone in your direction. But you can find an audience!

My field is jazz, particularly the jazz guitar. But these comments are relevant to all sides of the musical world. For example, there’s the band that is confused about direction and worried about how much cover material they should do. Or maybe it should be all cover or maybe not - and on. The singer – songwriter who panics if everyone doesn’t love his or her material. Should I change the lyrics? Maybe they’re too deep or not deep enough. Maybe the chords aren’t complicated enough or maybe they’re too simple. Maybe my hooks aren’t memorable….

I think committed self-conviction is the only road map. Use your own instincts to make decisions. Stay single-minded. Keep open-minded. Always consider the possibility of change but not the necessity of change. Don’t use everyone’s negative opinion as a reason to change.

Change if you can justify and emotionally support change. If you don’t take that approach, you’ll be blown around by every opinion until you get to the point that you will not know who you are, what your music is for, and where you are going.

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Incessant practice can be a delay tactic. It's important to get out there and perform - in any setting. Performing for family and friends is a great way to start. Painting: Audience by Jenny Wiik.

Practice is necessary to develop the skills required to pursue music successfully. But practice can also be a crutch – a delay tactic. Just as many people continue their college educations to avoid the necessity of getting a job – of facing the real world. It can be the same in music. You’re “never” ready. The fact of the matter is: you’re always ready. When you can struggle through one song, you’re ready!

As in most things in life, it’s important that you strike a balance between practicing and performing. By performing, I don’t mean a huge concert venue. It might be a performance for friends or relatives. It could be at a coffee house or an open mic night. Anything that puts you in the position of having to play songs – original or not, in front of people, is valuable.

Songs are not exercises. They are vehicles of self expression through music. This often strikes fear into the hearts of new performers. This is an understandable reaction.

Remember that fear can be redefined as excitement. They have the same physiological symptoms – shaking hands, a feeling in your stomach, the tendency to run. But if you enter the arena of performance, these feelings will ultimately turn to motivation.

So, practice and perform. Make it a lifelong habit!

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The ancient Greeks organized music into a series of 7-note scales known as 'modes.' Music theory is a way to explain the undepinnings of music - it is not a set of rules.

In this post, I answer the following reader question: What is ‘music theory?’ I know what music sounds like, but what about theory do I need to know? It sounds too academic for me.

Music theory is a collection of the principles that lie under and behind music. What theory is not is a set of rules. It’s commonly perceived to be rules – you have to do this or that – or, this or that is right or wrong. This idea is and has always been wrong.

The word “theory” has implied to many that something doesn’t actually work in real life. In this case, theory just means the organized inner workings of music.

I prefer to think of music not as rules - but as a massive series of interconnected causalities or effects. Nothing is right or wrong in music. The application of certain chords, scales, and rhythms will produce a specific sound and effect. It’s up to you which effect you create.

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A good teacher will not focus on his or her playing during a music lesson, and have you copy it. He or she will focus on your playing. Image: "Music Lesson" woodcut by Jenny Carrington.

A teacher who plays excessively during a lesson is not an aid to a student. In fact, the teacher often creates problems for learning. The goal of a lesson should not be to get a student to play like the teacher but to encourage the student to develop  his or her own voice.

Playing can be helpful as a demonstration of a point - but not as a methodology to teach. Generally, this type of “teaching” is “showing” more than teaching.

The teacher needs to focus on what the student is playing – not what the teacher is playing. Too often, teacher virtuosity can be discouraging to students. Where the student is, where he or she wants to go, and how he or she can get there - these are the only considerations in the teaching process.

Editor’s note: For more on this topic read “When ‘Tell, Don’t Show’ Makes Sense.”

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The American jazz pianist Bill Evans is widely considered among the most influential in jazz history. Although he died in 1980, his recordings continue to inspire new generations of musicians.

Bill Evans has always been my favorite jazz musician. Despite the fact that I play guitar, there has always been something about Bill Evans the man and the artist that fascinates me. His harmonic sense was legendary. His ability to swing – unparalleled. But the depth of this jazz artist and how he thought was, to me, his most distinguishing and valuable attribute.

Here are some of my favorite Bill Evans quotes. I find them realistic and inspiring. They have been a source of comfort to me throughout the development of my career.

“In the long run, we must consider that what we do is an art.”

“I hope, through my music, to contribute to creating a better world.”

“Everybody talks about my harmonic conception. I worked very hard at that because I don’t have very good ears.”

“Now in retrospect, I think it was a good thing I didn’t have a great aptitude for mimicry though it made it very difficult for me at the time because I had to work very hard to take things apart. I had to build my whole music style. I’d abstract principles from people I dug, and I’d take their feeling or technique to apply to things the way I’d built them. But because I had to build them so meticulously, I think, worked out better in the end, because it gave me a complete understanding of everything I was doing.” 

“I think some young people want a deeper experience. Some people just wanna be hit over the head and, you know, if then they [get] hit hard enough maybe they’ll feel something. You know? But some people want to get inside of something and discover, maybe, more richness. And I think it will always be the same; they’re not going to be the great percentage of the people. A great percentage of the people don’t want a challenge. They want something to be done to them — they don’t want to participate. But there’ll always be maybe 15% maybe, 15%, that desire something more, and they’ll search it out — and maybe that’s where art is, I think.”

“To the person who uses music as a medium for the expression of ideas, feelings, images, or what have you; anything which facilitates this expression is properly his instrument.”

“Perhaps it is a peculiarity of mine that despite the fact that I am a professional performer, it is true that I have always preferred playing without an audience.”

“My creed for art in general is that it should enrich the soul; it should teach spirituality by showing a person a portion of himself that he would not discover otherwise…a part of yourself you never knew existed.”

“I believe in things that are developed through hard work. I always like people who have developed long and hard, especially through introspection and a lot of dedication. I think what they arrive at is usually a much deeper and more beautiful thing than the person who seems to have that ability and fluidity from the beginning. I say this because it’s a good message to give to young talents who feel as I used to.”

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The Gibson L5, which Wes Montgomery played, has since become the model of guitar most associated with jazz.

People sometimes ask me to describe what the jazz guitar style is. Jazz is usually (but not always) played on hollow-body electric guitars; it uses a large repertoire of chords and voicings; numerous scales and arpeggios; octaves; improvisation over complex chord progressions; the “swing” feel in rhythm; the Bossa, the Samba, the Jazz Waltz; rubato ballads. These are some signs of this style.

The following are not used in jazz guitar: power 5 chords; open chords; steady strums; static chord progressions;  bending and vibrato; and distortion.

The jazz guitar style today often blends elements of standard songs from the ’30s and ’40s, with the modal influences of Miles Davis, and the harmonic influences of classical music and the blues.

Obviously, jazz is a wide idiom ranging from the Bebop to the Atonal to the Urban to the Free to the Progressive styles. In today’s internet mentality, with its ultra niche marketing, it seems more important than ever to be able to categorize music.

I believe the jazz guitar style is an art form. Is it a commercial style? Well, that depends on how you define “commercial.” I believe it has a tremendous potential to develop a world-wide audience, so, in that sense, it could be seen as commercial as well.

Improvisation is at the heart and soul of this style of guitar. Improvisation is indeed a very complex art form in jazz. The goal, however, is to allow people to see beyond the complexity and into the beauty of the form. Yes, too often jazz guitarists substitute meaningless flash for substance. Our society is not short on this in many areas.

If you’re curious about jazz guitar, listen to several players to find who and what you like. [Note from LRG: Try Wes Montgomery; Kenny Burrell; Jim Hall; older George Benson; and of course, Chuck Anderson.]

The guitar is the most popular instrument in the world. Its sound appeals to the masses. The jazz guitar, with its unique sound and feel, is well positioned to influence the listening standards of the world!

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Note from LRG: Chuck recently found out that a recording session he did in 1970 subsequently became a cult LP. From the British site Phonica: “A group of singers and musicians known as the Deirdre Wilson Tabac released their first and only LP in 1970, and this is the first 7-inch release of the song ‘I Can’t Keep from Crying Sometimes,’ a monster tune that DJs have been lugging around in its original LP format for years. A swinging 6/8 time signature sets the pace before the vocal trio takes over the groove.”  

In 1970, I was a young jazz guitar player working at RCA studios in New York. This particular date was a session for an album titled “Deirdre Wilson Tabac.” Sonny Casella was the visionary producer. From this album emerged a hit record called “I Can’t Keep from Cryin’ Sometimes.”

Throughout the years, this recording has become somewhat of a cult classic, especially in Europe. One copy of this record sells for what has been reported to be $400 to $600.

What is interesting about this production was Sonny Casella’s vision to contrast a rock – blues guitar player with a jazz guitar player. Whenever a lead guitar was featured, it would alternate between the rock sound and the jazz sound. The song is a very hip jazz-waltz type of pop – jazz tune with great vocals and funky, jazzy horns.

I just recently came across this song and it brought me back to the beginnings of my career. Recording in New York at that early age was a bit intimidating – but I survived and went on with my career.

I hear in the jazz guitar solos and fills the seeds that developed into my current CD “Freefall.” I’ve included the Youtube link to this classic recording. I hope you enjoy it as much as I enjoyed recording the jazz guitar parts so long ago.

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Most seasoned songwriters compose on both guitar and piano. If you're new to songwriting and have to choose one, try the guitar first.

I recently received this question from a reader: I play a little bit of piano and a little bit of guitar, but I’m a beginner on both. I want to write my own songs that others can sing, and I want to get the songs down on paper. Do you suggest I take piano lessons or guitar lessons if I can only do one right now? Which instrument will help me more with creating the songs and then singing them for others who might want to cover the songs?

Don’t get too far ahead of yourself. Writing songs and notating them accurately takes a good amount of study and effort. Of course, if you’re going to sing the songs as a demo, the notation part is less critical. Most people “discover” songs on guitar more quickly and more easily than on piano.

Guitar would probably be a better starting point if writing is your main interest. The ideal teacher (not always easy to find) is one who teaches the instrument,  music, songwriting and notation.

Many writers work well with collaborators. At one time, one person created the music and another person created the lyric. Since the 1960s, we have seen a huge rise in the writer who creates both the music and the lyrics. But collaboration in writing is a time-tested formula. The Nashville song-writing teams have been proof of this for years and continue to prove it every day.

Ultimately, most writers work with guitar and piano. It is generally felt that each instrument influences writing direction and output in a different and unique way.

Note from LRG: For more on songwriting, take a look at these posts as well:

• First the Words, Then the Music
• The Way You Write Your Song
• Tips to Help With Your Songwriting
• The Art and Science of Songwriting
• First the Melody, Then the Words

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Some, but not all, guitar teachers will work with you on vocals.

A reader wrote in with the following question: I play the guitar and sing and would like to work on vocals as well as guitar. Should I expect a guitar teacher to help me with my vocals?

A guitar teacher should not be expected to work with your voice. A vocal teacher would be the specialist in helping you develop your voice. This being said, it’s not impossible to find someone who deals with both the voice and the guitar.

While talking to teachers, you can easily ask if they handle both areas. Most guitar teachers who can’t handle the voice will say that they only deal with the guitar. If they say they can handle both, just ask them to outline their approach. It’s usually pretty clear that they do or don’t have a well organized and solid approach.

Note from LRG: For more on vocal study, see:

• Exercise Your Right to Sing
• When Good Intentions Go Awry: A View on Teaching Voice

Visit Chuck Anderson’s website to join his mailing list and learn about upcoming concerts. Buy his CDs and educational materials. And of course, become a Facebook fan!

One of the best parts about learning and playing music is that you get to play with others. Photo: The Falmouth Fiddlers Association of North Falmouth, Mass. The group's stated goal: "play music with other people and promote acoustic music."

Music education has benefits beyond the obvious. It’s great to play an instrument or sing or write songs. But few people appreciate the long lasting value of studying music.

It’s beneficial at every stage of life. Youngsters benefit from the discipline, the logic, the process of learning itself. It can increase self esteem and balance out personalities. Aggressive behavior can be balanced by a developing sensitivity. Overly shy behavior can be balanced by developing a more focused and assertive self.

Social interaction and cooperation are invaluable assets to the developing personality. Team and goal setting are part of the process as they are in sports. Music, unlike sports, does not have the win – lose mentality nor the sense of competition. There is room for everyone in music. It’s not limited to the number of team members or to the number of teams in a league as in sports. The personality of every individual can be celebrated and fostered.

On the opposite end of the spectrum, music is one of the most valuable activities that seniors can enjoy. Here the value of mental concentration, hand eye coordination, self fulfillment, creative expression and accomplishment often makes the difference between a happy pursuit of the “golden years” and boredom and loneliness.

The idea that music must be started when you are young is not only wrong, it’s discouraging and nonproductive. My work through the years shows me that it is never too late to get involved with music. Whether someone is just beginning to do music or is returning to music after a long absence, it’s hard to find a more beneficial and fulfilling activity and pastime than music.

For everyone in between youngster and senior, music offers unlimited opportunity to explore options. On the one hand, music can certainly be a career. There are a staggering number of jobs that involve music. Performing, teaching, writing, engineering, business, etc. In another post, I’ll go into greater detail about the opportunities that music presents to anyone who is interested enough and persistent enough to follow a dream.

Many of today’s jobs don’t offer the creative atmosphere or opportunity that millions of people seek. Music does offer these things. So, even if you have that full time job, there is nothing stopping you from developing a love affair with music.

Many students that I have taught and continue to teach are successful attorneys, surgeons, dentists, investors and business owners. These same people have developed a love of and a commitment to music that has immeasurably enhanced their lives. Many say that their lesson and the time they spend on music is the best part of their day.

There is something fascinating about how music works. Granted, it’s not always easy to find your direction or your path, but that’s where a good teacher comes in to the picture. With the help and guidance of a good teacher, you should be able to plot a course that will lead you through all the steps that you need to accomplish your musical goals.

It doesn’t matter whether these goals are lofty or small, they are nevertheless goals and as such deserve to be pursued and attained. You will never regret the time you spend with music and in all likelihood, it will enhance your quality of living all through your life!

Visit Chuck Anderson’s website to join his mailing list and learn about upcoming concerts. Buy his CDs and educational materials. And of course, become a Facebook fan!