What do I mean by ‘The Zone’? It is that mental space that allows for serious motivated attention in which to pursue an interest. Seeing how the ‘Russian Method’ or at least a portion thereof, worked on the keyboard in finding that space when practicing to develop skill further. I decided to try and find it on the guitar using my invention, ‘The Sonique Spiderweb’ as an aid.
This way of playing scales is of course possible, however the guitar is unique in that some notes that sound identical can be fingered quite differently, that being said the principle is the same.
The idea is to move from a root pitch 3 octaves apart through the sequence of notes/intervals making up the scale. Instead of playing all the notes in a scale an octave apart simultaneously as is common on the piano keyboard, (now that I think about it, that would be a challenge on the guitar! which will be explored soon, thank you very much mind of mine). Back to topic. We move away from the root pitch by both ascending and descending through the intervals. An example in the A major scale can be seen here.
Here are the specifics in writing
So we begin 3 octaves apart with the A pitch.
Then moving away from the root up in pitch to the major 2nd a B note and down in pitch to the major 7th G#/Ab,
(it is possible to goin either direction with the intervals, higher or lower in pitch, current example shows one way)
Next we move up to the major 3rd C#/Db and down to the major 6th F#/Gb
Then up to the perfect 4th D and down to the perfect 5th E
Then up to the perfect 5th E and down to the perfect 4th D
(same notes different octaves!
as will be the case as we continue)
Now we move up to the major 6th F#/Gb and down to the major 3rd C#/Db
Then up to the major 7th G#/Aband down to the major 2nd B
once again at an octave A note or pitch
Then inverting again we move down to a major 7th G#/Ab and up to a major 2nd B
Down to a major 6th F#/Gb and up to a major 3rd C#/Db
Then down to a perfect 5th E and up to a perfect 4th D
Followed by its opposite up to a perfect 5th Eand down to a perfect 4th D
Then up to the major 6th F#/Gb and down to the major 3rd C#/Db
Then up to the major 7th G#/Ab and down to a major 2nd B
And voila we are back to the root A note and none the less worse for wear.
So we can see two ways to reference and relate to the scale, one by the note names, but also as importantly by the intervals or distances from the root. I have found a kind of mnemonic device to remember this. Octaves are obvious, 2nd and 7th begin with the same 2 letters, the 3rd and 6th intervals are divisible by 2, and 4th and 5ths are right next to each other.
So, while this can be a challenge if we haven’t done this before and that is kind of the point here. This can be a useful method for getting into the zone or put another way, a more involved mind set for practicing other concepts we would like to make progress with.
Here it is for any to use. I am doing what I can as I am able, to show its utility as a musical instruction device but it can do more than just teach. Which if you decide to track my trajectory of haphazard blog posts and video demonstrations will eventually become evident. So a little more about making one.
As it is rather a bit much to assemble and offer for sale I am making it available at no charge, as a .pdf for anyone to print and use. Here is a video of how to make one yourself if you should be so inclined. So if anyone wants one and does not want to buy it from me, here it is for the low cost of nada.
Although I would not refuse a donation if you wanted to show appreciation for the effort involved in producing this and the associated material, blog posts, videos, and music that are a part of this enterprise!
for a download Make a one-time donation if you so desire
So there you go. Hope that is not too much pressure, and it is not required but appreciated if offered. As is simply being interested in my invention!
If you watch the video you will see what a challenge it is to manufacture. While the video shows how to make it, it is not demonstrative of how long it takes to produce despite being some 20 plus minutes long. And that is after I cut some material that while, not irrelevant to the process of producing it, it is perhaps not absolutely necessary to show.
All that being said I do feel it has a lot to offer and believe it will be of use to persons wanting to understand notational relationships in music theory displayed simply and alphabetically.
Hopefully the sonique spiderweb will be of value to those who endeavor to increase their musical proficiency and find new and innovative ways to understand musical concepts as a result. What follows is a rather detailed but far from comprehensive explanation of the sonique spiderwebs capabilities. As well as options to purchase an assembled functional sonique spiderweb.
as mentioned previously
So here it is at long last I am letting it out into the wild! Finally filed for the patent, that was my benchmark to letting go.
I can no longer use that as an excuse not to share it! There is a lot to unpack here and I plan to do just that as time permits. I intend that it is helpful to anyone desirous of learning certain music theory concepts. It has a lot to offer in this regard. In particular, the relationships of notes and how those can be utilized to work together in harmonious expression. I have some videos posted of how to use it on my youtube channel. Some basics to get started.
What is this thing we are looking at? Who has devised such a mechanism for capturing the attention of musically inclined persons to satiate their thirst for notational music theory? How does it impart its wealth of information so practical to the study of music? When can it be used to further musical aspirations? Where can I get one? Welcome to the Sonique Spiderweb.
This machination of musical mystery and perchance mastery has been developed over many years and has taken many forms to reach this present iteration!
I have personally put my own hands to work at the task of making this device as useful and easy to employ as possible. I call myself guitarbeau!
With in its dodecagonique shape lies an amazing ability to clearly display in alphabetic form the names of musical pitches found in a mode scale or chord and transpose that information in a snap with a twist or a turn!
This will become evident as we delve deep into its angular lines and tangental appearance to discover pragmatically proffered, perfectly possible potentialities and prudently practical purposes.
The Sonique Spider Web has been constructed in just such away as to not require alternative energy sources to operate, it can be put to use at a moments notice. No wait time, no boot time, no file search, no extension cord needed.
Obtaining it can be as easy or as complicated as you might prefer. Order one from guitarbeau.com As it is hand made and requires some time to assemble it is priced exorbitantly see the website for that information. Or make one yourself with a printable pdf on display at the top of this article that contains just the musical data available for display but with out all the particularly spectacular tantalizing features that make the Sonique Spider Web such a fascinating choice to explore! Though you could develop your own perspective on those features, I’ll share my technique should you want to go that route. Visit the video on how to make the sonique spiderweb.
With out further ado let’s spin this thing and see how dizzy we get!?
THE SONIQUE SPIDERWEB
So there is an abundance of information available here on this 8.5 by 11 inch cardboard invention.
Starting with the outer perimeter.
We have surrounding the sonique spiderweb 12 intervals or scale degrees designated at 12 equal distant sections making a dodecagon or 12 sided shape.
These interval designations are:
the ROOT, a minor 2nd, a Major 2nd / 9th, a minor 3rd, a Major 3rd, a Perfect 4th / 11th, an augmented 4th or diminished 5th, a perfect 5th, a minor 6th, a Major 6th / 13th, a minor 7th, and a Major 7th.
These are the 12 intervals or scale degrees used to define the spaces between musical notes from a root note.
Moving from an interval to another interval can be described as moving in steps.
Either a half step to an interval right next to it.
Or a whole step, to an interval separated by another interval or scale degree. This is a teaching paradigm that I don’t use very much.
inside of the outer perimeter
The next segment of the sonique spiderweb has 7 common modes or scales indicated with in it at specific intervals.
These modes are based on a Major scale and each begin from a subsequent interval of the major scale.
These are designated as:
Ionian: A major Scale begins from a root note
Dorian: A natural minor scale with the 6th interval or scale degree 1 half step or interval higher. Begins from the major 2nd interval of the ionian major scale.
Phrygian: A natural minor scale with the 2nd interval 1 half step lower. Begins from the major 3rd interval of the ionian major scale.
Lydian: A major scale with the 4th interval 1 half step higher. Begins from the perfect 4th of the ionian major scale.
Myxolydian: A major scale with the 7th interval scale degree 1 half step lower. Begins from the perfect 5th of the ionian major scale.
Aeolian: A natural minor scale. Begins from the major 6th of a the ionian major scale.
Locrian: A natural minor scale with the 2nd and the 5th intervals both 1 half step lower. Begins from the major 7th of the ionian major scale.
at the heart of the sonique spiderweb
The inner section of the sonique spider web has the musical alphabet indicated on it in sequential order.
Also indicated are key signs that correspond to the note or notes named in this version these are in the treble or “G” clef.
The note name section of the sonique spiderweb can be rotated to allow for transposing a scale or chord into another key.
sliders hiders blinders deciders
This feature really gives the sonique spiderweb its splendiferous capacity!
Just underneath and at the edge of the sonique spiderweb are movable sliders that can be used to hide or allow the display of the note names of the musical alphabet.
For example: to display an Ionian major scale use the sliders to hide note name data on the inner section:
at the minor 2nd, minor 3rd, augmented 4th/diminished 5th, minor 6th and minor 7th intervals,
and display note name data at the Root, major 2nd, major 3rd, perfect 4th, perfect 5th, major 6th, and major 7th intervals and voila the notes to any major scale
For example with a C note displayed or dialed in at the root we have C,D,E,F,G,A,B.
A C major scale. if you’re an astute observer you will also see the various other modes are like wise displayed along with the major scale.
This is because these other modes are found with in the Ionian major mode or scale!
With a simple turn of the inner web we can dial in any major scale in any key.
but wait theres more!
But that’s not the only scales we can display!
Using the sliders we can display a variety of other scales. All we need to know is which intervals are used in a given scale.
For example to display the notes of a major pentatonic scale.
Utilize the sliders to allow the display of a root, major 2nd, major 3rd, perfect 5th, and major 6th.
And hide all of the other intervals with their associated sliders sliders and voila! A major pentatonic.
Choose what key to play in by turning note name segment so that the desired pitch appears at the root position.
can you display chords? yes you can!
Chords are possible too!
Want to work on major triads. Display a root, a major 3rd, and a perfect 5th, hide all other intervals and dial in the root note you want to work with.
Want to add a minor 7th reveal the note under that slider and add it to the chord voila!
Want the major 7th instead a simple swap of slider position at the corresponding intervals, et encore voila!
What about something esoteric like a F#diminished 7th chord I discovered whilst playing we are the champions by queen.
This neat chord can be played from any interval and look like itself on the guitar fretboard and use the same notes albeit in different positions.
At least that’s how it occurs to me.
the intervals involved are: a root, minor 3rd, dim 5th, major 6th.
Look how it appears on the sonique spider web, we have root interval open going clockwise 2 intervals hidden, another the minor third open, continuing
clockwise 2 more intervals closed, then the diminished 5th is open, then 2 more intervals closed, the major 6th open, then 2 last intervals likewise closed.
A step and a half betwixt each pitch evenly positioned yet sonically amazing can you believe it.
there will be more to come
So those are the basics basically. Moving forward there will be more opportunities to study and put the sonique spiderweb to use that should provide a lot of fun.
I have made an adjustment in the manufacture of my device to make it more economical.
the sonique spiderweb (revised version simpler construct reduced the time to build it)
a music theory teaching aid to display alphabetic note name data and inter-relationships betwixt that data. shipping is included. please allow 3 days for processing. its just me doing it all. I will respond within 24 hours though with confirmation.
I thought this suitable because I needed a subject and this is one.
It a cliché because it’s true. Whether in humor, a silly punch line or witty comment delivered at the right time for a laugh. Or in music, when the spacing of the notes flow and feels right. A song you can sing or let reverberate around in your head space radio, and carry with you through out the day. The melody or lyric, sounded in just such a literal time space that is music, so as to elicit interest or give personal concepts meaning, validation and vigor. Or perhaps in life in general, a word of encouragement or insight gained from reading or study, shared at the right time can make a difference. In all of these instances time is involved. To provide encouragement or offer insight, we need information of just such a sort, which requires reading and observation at some level. To make music sound musical, practice is obviously involved. Humor seems to arise as if from nowhere, but it too is built on past experience and thought processes even if one does not write jokes as a practice.
All involve time.
PAST PRESENT AND FUTURE
I recently began to try and play some music I had committed to memory years ago. I remembered I knew it then, but but now? This particular music fell out of practice as other interests encroached upon the time and energy that was devoted to music. Some times that was other music, too often it was not. Presently irritated, frustrated and somewhat despondent about the loss of my ability to just start playing these pieces again, believing, once I had learned it, it was mine forever. I thought I would not forget something I spent a considerable amount of time to memorize. This is not the case. I have forgotten more than I know! Someone once told me, referring to B.B. King and myself in the same thought no less, that “he had forgotten more than I’d ever know about the guitar!” As I was a brash young guitarist amped up to make it as a musician, it seemed to this person a pertinent point to make. Not really knowing his motivation for saying such a thing, other than some confluence of events that equated all of us in that instant in his mind. The statement stuck with me. However the lesson it now intones has more significance.
If you don’t use it you lose it. It is easy to remember the concepts involved in music, reading it, fingering on the guitar or keyboard, how it sounds, or is supposed to. But if it is not actively engaged with regularly, it will suffer want, which can of course lead to discouragement. Which can lead to ‘why bother’ which has been a go to preference too many times, leading to a lessening of interest in keeping that particular music and the necessary skills to play it, alive. Revisiting some of the more complex music I once pursued and reorienting myself toward it has proven a challenge to maintain enthusiasm and take the time and energy to hear it come from my hands again. But it has also been one accepted gladly, as I am still having a go at it. I choose to struggle with this at present because I can see where having this once again as a part of my skill set can contribute to a more involving musical future. Despite possibly being seen as a resting on my laurels kind of affair, it is in fact a jumping off point. To not only maintain the status quo, but to advance it as well.
To stay active on ones instrument of choice is a good thing.
Even if it is currently only to maintain flexibility and prove that the feasibility to make advancement remains intact.
Music and Media
The particular pieces I am reacquainting myself with are from 2 very different musical era’s and obviously, 2 different people. One is by Fernando Sor (1778-1839) a classical guitar composer, which title appealed to the idealist in me “Fantasy Op.7” It is also in an unusual time signature 6/8, for some one like me accustomed to 4/4 rock n roll. In fact when I first undertook to learn this piece I ignored the time signature all together, primarily focusing on the notes and fingering. Despite this blatant ignorance of an instrumental part of the music and barely knowing how to read music,
I some how managed to make it sound like music.
The other piece is from a guitar master named Guy Van Duser who has the brilliance to arrange music from stride piano players to the guitar. In this case a tune called “Snowy Morning Blues” by James P. Johnson sometimes referred to as the “father of stride piano” This title also appealed to me. Again I had learned the music but due to lack of practice it was no longer available as a part of my repertoire of pieces I could play competently. But I wanted to once again.
Insight and Innovation
I have discovered in reorienting myself with this part of my musical past and the musical past in general that my abilities have also changed. I can not stretch my fingers like I used to. The fingering suggested by the music in some parts of the arrangement required a deeper dive into the music notation and not just follow the tablature as presented.
Because the guitar is structured in such a way, alternate positions are available on the guitar to play the music in more than one position on the instrument.
For example: Near the end of Sor’s Fantasy Op. 7. There is a pedal G note part The G gets played continuously through out several bars, at one point the score suggests a D note on the B string and a B note on the E string this is a 5 fret stretch. Trés Difficile (very difficult for me) The same notes can be played at the 12th fret and still allow the pedal G note to sound. Given my current abilities, this is a useful work around.
In Guy Van Duser’ “Snowy Morning Blues” arrangement a similar stretch was asked of my fingers. This time it was a 4 fret stretch but one that could be accomplished by another fingering. It has an open A string as the bass, B on the G string, and C on the B string. An A note is to follow the B on the G string as is and open G string after that. By fingering the A note on the D string and the C note on the G string and the B note on the open string the same combination can be effected and my hand isn’t quite so overextended. See the tablature below.
As a result with the careful studyof the notation, a work around presented itself and I felt a sense of accomplishment in applying myself to the task and gained a deeper connection with the music and my abilities as a result.
So this would suggest, with a little digging and will power, alternatives to certain difficulties can be overcome and further develop musical skill. It is a struggle some times to go deeper but by doing so even at a seemingly microscopic level, improvement can be made and we can become more invigorated by investing in the process rather than giving up because a certain challenge has presented itself.
So its a fairly well known concept that to be good at something you have to do it a lot. This is not always easy to do. Focus often suffers for a number of reasons.
These are the few that I came up with as I am tired, not unmotivated but challenged by the complexity of blogging and fearful of putting it out there. Well the blog has been here quite awhile and I am now earnestly making a go of it. Fear has been supplanted by momentum as I just started a you tube channel, ‘guitarbeau’s youtube channel’ posted a music video for a contest submission, and directed viewers to this site so… I have motivation to make it worth the trip, as well as some momentum which some have argued is more important than motivation.
Just get started and what follows is a result in the direction one is going. Obviously results may vary depending on the amount of interest and attention given to the effort, but it will stimulate focus by ‘just doing it’ or ‘do or do not, ‘there is no try’ if you prefer to get your act going via quotes from pseudo otherworldly guru’s! There is in fact a ‘try’ just like there is a, ‘taste it you might like it?’ So as this is about practicing a musical instrument when unmotivated or unfocused read on.
Try it with your eyes closed
So I maintain a schedule for practice or try to, it is sometimes difficult to get with my self imposed program. But learning music is a must do for me, as is improving my ability on the guitar and keyboard. In a previous post I mentioned and referenced an article that made some fine suggestions for improving the ability to learn, As the subheading here suggests I found another way to make that happen as well as find a new way to obtain focus on the effort of musical education and improvement.
Its not that difficult
I was struggling to get going one morning so I thought I’d feel my way around the keyboard and see how much muscle memory had become apart of my skill set. Turns out, it was quite a bit. Not that I am flying through the scales at break neck speed, even with my eyes open. But I can find the way with my fingers and ears better than anticipated or that I thought I’d remember.
but wait there’s more
Not only did I impress myself with this version of practice but discovered a component to scale sequences that I had not encountered before. Going through the cycle of fifths and corresponding harmonic and melodic minors related to each I discovered the relative minor scale of the major can lead to the next scale degree in the cycle of fifths.
Briefly and as it relates to the keyboard
Starting with the C major scale and then playing the relative A minor scales, harmonic and melodic, the G major, the fifth from the C, of course is found left of the A (minor), making it easier to find “in the dark” so to speak. G major then is related to E minor or vice versa left of which is the D which is the fifth from the G, got it? And so it went until I reached the scales that for me still require a visual reference from which finger to begin so back to my chart I go to get um, my footing!?
So the crux of the matter is, focus can be started many ways, and while practicing with your eyes closed might seem daunting to try at first, it can yield beneficial results when done with the intention to improve our musical proficiency. As can just about any endeavor. Just get doing it, or not.
This is a finger exercise that will challenge you and perhaps add a new component to your musical vocabulary. Its a fairly straight forward structure, despite the name, almost chromatic in nature. So the simple animation provided below will give a good sense of how it is to go. It can be played anywhere on the fret board. The animation suggests the low end of the fret board. So begin by working up the neck
1st finger 1st fret E string (F note)
2nd finger 2nd fret A string (B note)
3rd finger 3rd fret E string (G note)
4th finger 4th fret A string (C# note)
4th finger 4th fret E string (G# note)
3rd finger 3rd fret A string (C note)
2nd finger 2nd fret E string (F# note)
1st finger 1st fret A string (A# note) from here begin the pattern anew next note on the D string
2nd finger 2nd fret D string (E note)
and so on across the fret board.
Depending on where on the fret board you try this, find corresponding chords to play along with it.
Teaching is an art, requiring many things, understanding of the subject matter, skill with related articles of usage, patience.
I have had many opportunities to reflect on and realize this.
Knowing how to do something does not mean one will be able to explain to someone else, how to do it. Or be understood.
I am reminded of something I read in Readers Digest years ago.
“An education is something you give to yourself”.
To me that means, despite the best efforts of teachers, the most interesting of presentations and the most comprehensive materials, we learn because we want to.
In many cases we learn things like walking, talking, driving, writing, all because we have to. But when the subject is something we want to do , then we choose to educate ourselves.
So when there is a desire to learn, and there are, always increasing and evolving methods with which to acquire an education, the means to do so are many. How best to proceed?
There are many ways to acquire a skill, one of the most needed though is patience. On the part of anyone involved. Whether teaching or studying, a mindset of patience helps immeasurably.
We can also learn by teaching.
Our own knowledge is enhanced by showing another how to acquire skills within our interest.
If you are a life long learner, show someone what you know and prepare to be enlightened as you uncover a new way to look at that base of knowledge you have as you share!
So regarding learning anything let alone music, why use a teacherwhen there is YOUTUBE, the internet, CD’s DVD’s, Books?
Reasonable question, and a committed student will find these methods useful at times as well, to pick up a new tune or technique. However there are some things a teacher can provide more responsively:
Encouragement, if I can do it you can!
Incentive, someones going to hear me I better practice!
Observation applying the instruction, am I doing this right? this can lead to faster more relevant progress.
Having a teacher also shows a sincere commitment to see the effort through.
I am currently accepting new students for the guitar and electronic keyboard.
I have been playing and learning the Guitar for 36 + years and have been developing my Keyboard abilities for 9 years.
I teach musical skills by way of rock and pop and original music.
I can teach you how to read music, tablature, and learn songs by ear.
I have developed a tool useful for understanding some of the more complicated music theory concepts to a single page, as in notes, modes, scales and chords.
One of the main benefits that I provide is that I come to you,
(Marana, Northwest Tucson)
I am also patient, an ability necessary to acquire and advance musical skill. If you prefer a by the book approach I can accommodate that as well.
There are many avenues to learn by. We can use whatever method you deem appropriate. No long term commitment necessary, if you just want a single lesson that is ok. If interested email or contact me at:
Guitar and/or Electric Keyboard.
Or call & leave message please 520-288-5617 Bill L
So this is a new endeavor for me (blogging), hopeful that it will generate some interest, both for myself and anyone who finds this here. My reach for musical proficiency began in earnest one Christmas after receiving a plastic rifle as a gift. I immediately strapped it over the shoulder and began to strum it as a guitar! Infatuated with music making, I continued a never ending, albeit intermittent climb to musical aspirations that remain forever on the horizon. As a child singing along with a limited but formidable number of 45 rpm records, I would channel Elton John’s ‘Philadelphia Freedom’ at the top of my lungs whilst enjoying the sonic sugar high with headphones on. Those outside the headphone induced delirium I was enjoying, thought otherwise about my present abilities to carry a tune. I don’t remember the exact phrasing used to quash my efforts at out loud singing ‘practice’ but it did and still does give pause for concern. Though I can, given the right opportunity, publicly display skill in this regard (singing), There is a struggle to put it out there. But do continue the search for opportunity to do so.
Sometime later I received a much desired acoustic guitar, which was not as easy to play as the aforementioned rifle, but I would soldier on as it were with the help of a lovely young guitar teacher Miss Staci Misiti, if I remember correctly. She would walk me through the ‘Mel Bay’ learn to play guitar method. Once I broke a string and thought the guitar was forever broken, I cried like a little baby, emotional memories seem to last forever. Time passed interest waned but never left. A few acoustic guitars later, I got my first electric guitar and that was the real beginning of my musical journey. Armed with a proper desire to learn to play, to impress girls, I got lessons from the local guitar hero and began to get an education in rock that I was not privy to before. Being the oldest I had no elder brother or sister to inform my ears of music that was available besides top 40 radio. My Teacher at that time Marc Schumman (Marc Ferrari in the 80’s I think) Began my musical sojourn into hard rock guitar with bands like Aerosmith, Van Halen, Ted Nugent etc… Practicing in earnest I impressed my teacher but still didn’t quite understand the music he would try to teach me. I being a KISS fan new nothing of Led Zeppelin. An overlooked bit of music history that time had no problem helping me to correct. That and friends who would become the source input for the sonic impetus driving much of my formative musical training.
My first band. Me and Bob Alcott formed ‘Red Freaks Don’t Smoke’ He new what it alluded to, I did not, and still don’t. They say 3 chords can say so much, but we only knew 3 notes before we took our show to the patio, at which time we were promptly hailed as guitar heroes via the ‘tossing of the proverbial empty bottle’ at our stage. This was not the last time some one would think so much of my stage presence as to throw something! That one really hurt, not the first one though. We were noticed, and there is no such thing as bad publicity! (Stone to the side of the head not withstanding)
Many, many lessons and practice sessions later with maybe 3 songs under our belt, we audition a drummer to round out our trio. The guy showed up with the biggest drum set I’d ever seen and a professional ability that far out weighed our own. I guess my sales ability on the phone and overt optimism about what we were capable of got him to show up. Why he stayed that afternoon I’ve no idea, but first time with a drummer and I was hooked. Rock n roll even our basic version of ‘Rocky Mountain Way’ in the garage that day sold me on the unflappable desire to continue this course and try again.
Again and again. The impetus to make rock music had borrowed deep and there were quite a few others that also entertained this obdurate wish to annoy our families, from the basement or, the neighbors from the attic on a Sunday morning. Restating famous guitar riffs and songs that got ever faster and harder (dynamically). We bore the names of our tribe, Warlord, Blitzkrieg with honor. And a determined preoccupation to not be associated with any other style of music than the ‘hard rock’, which been channeled into our brains as our fingers and feet would follow as best we could, to impress ourselves as well as, the beer drinking population that would tolerate the caterwauling we were capable of.
And so it went on, Wedding Receptions, Clubs, Pubs, Battles of the Bands, Private Parties, Writing and Recording, Teaching, Jamming. I always enjoy trying to make a performance a thing to behold, rehearsals could get discouraging depending on many things, not the least of which was how often we could get together. Once a month is not going to cut it to perform regularly, too often and it may sound uninspired. Then there are the leaders of the band that can be demanding to the point of dictatorship, that can be demoralizing. And yet to get out there and play, make something happen sonically as well as the myriad other ways music can affect us is still the main goal, of wanting to be a musician in the first place. Of course it can also be for private amusement, one does not need to want to perform to want to play. But I think if you develop something to the point that it makes you happy, you will probably want to share that at some time to make another happy.