GRIT: The Musician’s Most Important Trait

A while back, I listened an audiobook called Grit: The Power of Passion and Perseverence by Angela Duckworth, a psychologist, researcher, CEO, philanthropist… The list goes on.

Not only is she shining example of “grit” herself, she’s also been studying the subject for a significant chunk of her professional career.

The topic itself is fascinating, but the whole time I was listening, as she made mention of students, military folks, classical musicians… I couldn’t stop thinking about what an integral part of ANY kind of creative pursuit this murky subject is.

Especially musicmaking…

“Grit is the tendency to sustain interest in and effort toward very long-term goals. Self-control is the voluntary regulation of behavioral, emotional, and attentional impulses in the presence of momentarily gratifying temptations or diversions.”

Now, some of Duckworth’s work has been criticized (whose hasn’t?), but I’m not in the business of critiquing psychological research.

Instead, the concept is what’s important to me. How do we musicmakers stay the course in the face of setbacks? How can we dedicate ourselves to the long game without getting burned out? How can we cultivate grit?

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Dear Gigging Musician: Pandemic Sucks, Right?

I was supposed to be in Ohio last week. I busted my ass for just four dates out of state with Flexadecibel and The Brandino Extravaganza… Now it’s a wash. The album release show tomorrow is canceled too…

And with longer stretches of mandated distancing, the whole calendar is under threat. We’re already out three festivals and the dominos are just beginning to fall.

It sucks bigtime.

BIG OL’ CANCELED

These are hard times for performers of all stripes, especially those that make the bulk of their living that way. And while I don’t purport to offer advice about dollars (beyond some unemployment or other hustles if you can get ‘em – maybe more on that later), I do want to talk about how we now gigless players can spend this trying time for good.

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The Fluidity of Skill

You can look at almost anything we do as a skill, from speech to tying shoes, mountain climbing to trading stocks. Broad categories like these are full of microactions, too: pronouncing certain words, getting the lace loops the right size, etc.

Consciously or not, we learn the little bits through repetition, and develop the “skill” of… Whatever. That brain process is basically the same. The more you do something, the more skillful you become.

But it isn’t reallthat simple.

People learn at different rates or excel in certain fields. Some skills are relatively permanant, like walking or wiping your ass… Others are shakier, and you run the risk of “use it or lose it.” Our bodies and minds change with age, too, and that affects deftness in its own ways, for better and worse.

Skill, then, isn’t just the ability to do something or not. It’s a spectrum, and a changing one at that. We can get a little better (or a little worse) at all kinds of things over the course of our lives – or far shorter periods of time.

This idea of fluid skill lets us off the hook a little bit. Instead of lamenting a deteriorated ability or feeling embarrassed by novicehood, we can think of many skills as “present tense.”

If skill is fluid, you can only be where you are right now.

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Grind With What You’ve Got

This is as much for me as it is for you (as usual)…

If you want to do something, anything really, you gotta go for it in whatever ways you can. This isn’t one of those “get out of town or you’ll never make it” posts, or advice about dropping everything else in your life to chase your passions (well maybe a little).

It is, however, a reminder to stay vigilant, to be aware of – and focused on – what you can be doing RIGHT NOW to get closer to where you want to be, wherever that may be.

There’s a big difference between excuses and legitimate reasons. We don’t always get to choose our lot in life. We do, however, get to choose what we do with it…

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Falling In Love: Reconnecting With Your Instrument

I love music, I love learning about it, I love digging into the craft, studying, challenging myself, practicing and performing as much as I can… I’m pretty certifiably obsessed.

Smitten.

I’m proud of it, honestly. I kind of relish the weird comments or disbelief that I try to do as much drumming as possible. It’s part of my identity, both internally and externally.

Plenty of people don’t have that, though… A relationship with music/an instrument that helps define them. Or maybe they did, and lost it somewhere along the road.

For those of us even a little serious about musicmaking, finding and honing our creative voices, I think we have to love what we do. We should be thinking about it waiting in line or sitting on the bus…

Infatuation with your instrument and the music it makes is (or at least should be) part of the process.

Balance is important of course, but I’m looking right at those folks who play… Who want to play… But always seem to find other things to occupy their attention.

If you don’t find yourself in my camp of “I want to do this ALL THE TIME” – how can you get there?

Or, a bit more practically, how can you stoke the fires of musical passion to make time to practice (which we all know is important), to put forth more effort than you currently are – because you want to.

How do you fall back in love with your instrument?

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The Confidence/Knowledge Paradox

Confidence is a strange beast. Some seem to possess it inherently, others seem to fight to find it their entire lives. Musicians are notorious for this dichotomy, many acting as their “own worst critics” or constantly chasing some sense of artistic achievement that’s always out of reach.

The mighty Beethoven, a true master by all accounts, once wrote in a letter to a young admirer:

“The true artist is not proud, he unfortunately sees that art has no limits; he feels darkly how far he is from the goal; and though he may be admired by others, he is sad not to have reached that point to which his better genius only appears as a distant, guiding sun.”

Even a man of his tremendous achievement is plagued by doubt, disheartened by some goal that always seems just over the horizon. Maybe it’s just part of being an artist…

But it’s also just part of being a human.

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A Clinic With Derico Watson

I hail from a small(ish) town called Muskegon, Michigan. We’ve got a few “claims to fame,” but for the drumming community, one of the proudest is being the hometown of Derico Watson.

Derico is a powerhouse of a player with plenty of chops and super deep pocket, but even more importantly, he just exudes joy and passion when he plays. He’s passionate about many things actually, he is a natural medicine advocate, and talks to everyone who will listen about the benefits of alternative medicine over conventional. Not many people consider alternatives when they get sick, but many that have been around him do now because of the wealth of knowledge he has on the subject. If you want to look into this further you can go here to check out alternative medicine.

Perhaps best known for his work with Victor Wooten, Derico has had a huge impact on the drummers hailing from this part of the world, myself included. Even though I missed the opportunity to study with him when I was younger, products of his education exist across our local scene – and his influence (in my humble opinion) has raised the bar for the drummers of West Michigan.

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The Death of Boredom

I’ve got something of a mantra: BOREDOM IS A MYTH.

This doesn’t necessarily mean that people can’t be bored… Rather that they shouldn’t be. This also doesn’t mean that there’s no value in downtime, just relaxing, idle chat with friends, or an aimless wander through nature.

No, I’m aimed at the “ugh, there’s nothing to do!” kind of boredom – sitting around uncomfortable, focused on your lack of options. Daydreaming is not boredom. Scrolling through Facebook, barely even reading anything, is. Straight up killing time with a vague awareness “I’m bored” and little else is, well, bullshit.

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So, You’re an Old Dog Drummer… Want Some New Tricks?

Habits are hard as hell to break… Especially when you’ve been reinforcing them year after year, gig after gig, to the point they’re no longer just habits – they are parts of your personality.

As drummers, this isn’t an entirely bad thing. Our go-to grooves, the way we tune our toms, even the way we setup our kits is part of our signature, our individual musical identity. Even beyond “what you’re used to,” personality plays a big role in the gear we choose, the sound we hear in our head, the styles we choose to play, and on and on…

But what if you want to learn something new? Or… What if your setup, your gear, your grooves aren’t the product of conscious choices or a personal aesthetic… But just habit – the way you’ve settled into doing things?

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The Twofold Path – Part 4: Application

Over the last three entries on this here blog, I’ve been trying to cover my current (loose) approach to learning and developing my skillset on the drums. I’m calling it “The Twofold Path” because there are, well, two primary elements – exactly what I looked in Parts 2 and 3 – “chops” and “groove.”

Surely there are plenty of other things to consider in this vast world of percussive music making, but for me… Right now… This is where my head’s at.

In Part 2, the focus was chops and technical facility on the kit, and that should be a pretty major part of everyone’s practice. Really, this side of the coin can be expanded into anything technically oriented – speed, independence, pattern memorization, technique…

The other side (covered in Part 3) can be expanded into everything musical and practical – including things that require the ability and facility mentioned above.

Where one side is physical, the other is mostly mental.

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