The Musician's Most Important Skill

All too often we talk about how to practice and perform. You might think that the most important skill a musician could have is great dexterity or, a great imagination, or maybe even great creativity. Where these are important, that there is one skill that is the foundation of all that a musician must do. It's our memory. Memory isn't just used by musicians to remember tons of songs; it's used in every aspect (improvising, composing, performing). Musicians must remember songs, chord progressions, fingerings, lyrics, scales, idioms (licks), performance notes (dynamics, inflections, phrasing, breathing, etc),  recording techniques, engineering facts, song forms, theory, stage moves, gear settings, recording settings, software applications, etc. And this is just the musical applications! This doesn't include any of the marketing, PR, business activities that we have to do on a daily basis. Memory even comes into play in our ear training because ultimately, the ear is using our memory as reference point for all of those chords, intervals and sounds.

It's All In The Repetition

As a musician, the same exercises and drills are repeated over and over again throughout your lifetime. There's a good reason for this. Repetition is simply one of the best (if not the best) way that to learn. Of course all musicians know this, since this principle is shoved down our throats from our first lesson...Did you practice? Did you go over all of the stuff we talked about? Did you do your scales for the millionth time? Did you practice your rhythms (that you've memorized)? We all know that practice makes perfect and the essence of practice is repetition. For some reason though, we don't apply this principle to other areas when we know how effective it is. For example, a lot of musicians will work on music theory, different styles, new chords, new scales etc. but they don't apply this repetition technique. The best way to retain a new scale/chord/technique is to repeat it over and over until it's second nature. There is the proper application of new material which we've talked about before but, for simple retention, repetition can be one of your most effective weapons. Use it daily. One of the most effective things about teaching is the fact that I can enforce this simple technique every week when I see the student. If you're practicing on your own, you're going to have to reinforce this on yourself. Ask yourself what you did the last time you picked up your instrument. What did you do last practice?  Did you practice what you had started? Did you do a little everyday or did you just go through it once? Make sure you do this every time you sit down to practice.

The Four Point Review Method

Once you've learned a new skill, read a book or had a lesson, one of the worst things you can do is just go home and forget about it. Even leaving it until the next day isn't a good idea. There is a method of reviewing material that will go a long way in absorbing and memorizing new ideas. Every time you come across something that you want to retain and use in the future, go through this learning regimen.

Step 1 - Input: Like mentioned before, it's not enough to simply read or scan the information that is presented. You must engage the mind immediately. Get into the mindset that you're going to immerse yourself in the task at hand. It's the same with learning almost any new skill, the more your mind is engaged in the technique, the easier it will be to retain and use that information. You engage the mind by asking questions, repeating important facts out loud, making notes, circling and highlighting important points, and most of all, summarizing what you've just learned. Let's look at a couple of those in detail.

Engage First

The most important thing about trying to remember facts and ideas is to engage the mind in the first place. This may seem obvious but you have to be working the brain a certain way right from the beginning to make sure that the facts are retained. It's like trying to remember somebody's name when first being introduced. It's important that you go through a couple of simple steps or you may end up paying attention to the color of their shirt instead of remembering their name. Simply reading something or passively skimming over it is ineffective in retaining information. Reading and skimming over material are only effective when you've engaged the mind in the right way. It's all too easy to just read over something without remembering anything. How many times have you ended up reading the same paragraph over and over because your mind was elsewhere? This happens more often than you think. Try this: read over some material, or a couple of blogs or a couple of articles like normal. Just read them like you normally would, don't do anything different. (You might try harder to retain info this time because you know whats coming next). Now close whatever material that you had open and try to remember what you've just read. How much can you remember? If you've read a dozen blog posts, how many do you remember? Do you even remember the titles? How about the pictures? How many of those do you remember? Because we consume so much information in a day, we start to consume our reading material like our television; as a casual observer.

The Non-Casual Observer

Now we're going to take the same material but this time we're going to engage our mind. Keep in mind that this isn't something that we usually do automatically so we're going to have to make a conscious effort. There are a number of ways to retain information, to learn and to be able to recall it at will. Numerous books have been written on the many ways of doing this. There are ways to retain lists, physical surroundings, technical information, graphical information etc. Most involve using all of your senses in one way or another. Others try and figure out how you process information and use that to your advantage. Do some research on these and try them out. You may find one works better for you than others. The way you learn is usually a personal thing and one method doesn't apply to everyone. We'll look at just one way to help us retain all that we read.

Mindset

When you first get the material, give it a quick once over. That means if you have a book or even a chapter of a book, go over the entire thing at once. Go to the end and see what you're supposed to learn. If it's a scale or theory, look at the final examples to see what the point is. By doing this, you're getting an idea of the overall thought process right from the beginning. You'll notice that in some books, there is a summary at the beginning of each chapter as well as one at the end detailing all that was covered in a couple of sentences. You should be doing the same thing when you start with any new material. Second, get rid of any other things that may be on your mind. It's a standard thing to close your door and turn off any distractions when really getting down to work. There's a good reason for this. You want to do this every time you sit down to learn. Except don't stop at just that. Try and shut off your mind too. Empty your mind of any other thoughts if possible. That's why it's good to get an overall view of all of the material when you start, it gets your mind into the task at hand. Try and keep this focus. We lose concentration easily and quite consistently. Keeping focus is a skill that must be learned and worked on. Third, keep an internal dialogue about the material at hand going on. Why is don't like this and not that? Why do this at all? Is there another way? How do I do these things? By keeping your mind engaged with this dialogue, it'll be easier to keep focused.

Step 2 - Organization

We've talked about having a separate method of collecting ideas and putting things together for your practice sessions. I use a binder that I put all of my notes in, reference material and practice schedules. When learning new material, it's important to have a place where you can make notes but also be able to come back to. Remember the review is going to be really important. Get together a notebook or use your favorite method be it a laptop or anything else you use. It's important that you have some organization to your notes. That way, when you come back to them, it's simply a matter of going through a quick review. Looking for notes, forgetting where you put something, or not understanding what you've written will just get in the way. You can make notes any way you like, just make sure you do them. This is something that we lose after we leave school. Notes are great for organizing things in our mind and reviewing what we've learned. Retention is difficult without these. Also, try and make time for a review everyday. After a while the reviews will be less often but it's important that you're consistent with this. We know that the best way to learn is by repetition. Make it so the repetition is effortless. You simply go to the material everyday, and review. I'm not just talking about organizing the written material but organizing your time.


Notes and Mind Maps

One great way to engage the mind and try organizing things in your head is to create notes and mind maps. Mind maps can be used for anything...even music. It's about how you put it together. Once you learn some new facts, put them together in a mind map and see how they all connect and make sense. Mind maps are really just another way to make notes. Instead of having lists though, we have a graphical representation. This is more like our brain functions so it's more effective than long lists and straight text. Mind maps also use keywords which are another great learning tool. I find that any type of graphical reference always helps. Mind maps have a standard way they are put together. I follow this but also have tons of other notes and diagrams I make to understand. Tests have shown that material is retained much better when it is written by hand as opposed to typing or other input.

Repetition

Like mentioned above, it's important that the material is reviewed consistently. This is one of the most important parts of learning. It's the reason why I'll go over the same material again and again with my students. That means having a schedule and going over all of the material everyday. It's important to go through these steps every time you open your notes.

Step 3 - Review

Of course there is no retention without review. That means not just going over the material but going over it consistently and making sure that you understand what you're learning. Go through the same mental processes that you went through when you first learned the material. The consistency of review is important also. When you first learn something new, it's important that you do a review almost immediately after learning. That means if you've learned something is a classroom, do a review that day when you get home. This is the most important review of all of them. Just doing this will increase your retention and understanding tenfold. Go over all of the material you learned that day. This doesn't have to take hours, a half hour will do. Just make sure that you engage your mind like you did when you first learned the material. Once you've done the first review, you can wait until the next day before you do another. Do this review like the first. Once you've done these first two reviews, you're well on your way to retaining the info. You can wait a couple of days before doing another review but don't wait longer than that. After doing all of these reviews the first week, you can just do a review once a week for the next month, you should be able to retain all of the information this way. Once you've done the first month, you should only need to do a review once a month. I try and go over all of the material once a year. If you have tons of songs and an extended repertoire, you may have to tweak your review methods depending how much material there is. Remember that if material isn't reviewed often enough, it will have to be relearned when the time comes.

Don't Just Regurgitate

It's usual for most people to review material simply by reading over it again. There are more effective ways to remember. One is the mind map method mentioned earlier. Another effective method is to create quizzes and/or try to recreate what you've learned. This means taking the ideas learned and try to write down and explain all that's been covered. Once you've gone over the material, go back over it in your head. What's the general point? What was learned? Are there new definitions and terms to know? Did you understand what you read? Is there something that you didn't understand? If there was, write it down. You can come back to that later. Once you've gone over the material, close everything, take a short break and then give yourself a small test. All you need to do is write down, play and explain what you just learned. By putting it in your own words, it will help with not only your retention but your understanding also. Music can be confusing, by putting things into your own words, it helps create your own understanding of the material. You'll find most musicians have their own opinion about quite a few things in music. This is because we've all taken the same concepts and organized them and made them our own.

Focus and Engage

You can see that once again we've just touched the surface of what we can do to use our memory better. There are a couple of techniques here that you'll want to use again and again. The better you get at retaining information, the better you'll  get at remembering songs, fingerings, scales, chords etc. This sort of technique will permeate all of your playing and make you a better musician overall.

Practicing On Purpose

We seem to set out with the best of intentions. We try and practice everyday. We make sure we're covering the basics. We're trying to improve. Like we've talked about here before, it's important that you set apart some time to try and assess what your goals are. You try to figure out what you want to accomplish on your instrument and what you want to accomplish with music overall. But there's so much to learn. So much to practice. Every new skill seems to take forever to master. How do you know what you're supposed to practice and what not to? Of course having a great teacher is invaluable for this because that should be a prime consideration of theirs every time they see you. But how to do you figure this out on your own? How do you practice with purpose?



Narrowing It Down

When I teach, the first thing I ask is what kind of music the student listens to. I ask this before I even ask any of their goals because their answer to this question lets me know what direction to take in their lessons. If they say they love metal, I will take a different approach as opposed to if they say they love jazz. I then ask them what they want to accomplish with music. Usually it's mostly just about getting better and learning to play songs. But there's more to it than that. I ask them if they play in a band, if they ever perform live or if they ever do any recording or writing. The reason for this is because doing one of these type of activities will have an effect on what their course of action will be. If a student wants to learn metal and is in a band, part of their practice should be directed as what's happening with the band. If they ever book a show, or start doing some recording, this should have a direct effect on what they're practicing.

Why Bother?

You might be thinking 'why bother'. Why not just try and practice really hard each day and go through your regular regimented program? There's two reasons for this. First and foremost, music is an incredibly vast subject. There are simply too many avenues for any person to tackle all at once. Most artists and musicians (even veterans) will usually choose one particular avenue to explore at any one time. Just look at some releases of great artists. They will usually release an album exploring a certain style or sound. Check out the albums of some of the great jazz artists and you'll notice that they go through certain periods where they'll focus on one area. It may not always work out but I find it's the mark of a great artist who always strives to reach further with their art. Secondly, choosing a particular path makes it easier to improve in your development since your not scattered trying to learn too many things at once. It keeps you motivated since you can see your progress and it's not too overwhelming. For example, if you're in a metal band and recording a new CD, learning to write 4 part harmony shouldn't be your prime focus. Not at this time, maybe later.

Pinpoint Focus

If you want to keep your practice sessions interesting, it's good to have some variety, but don't lose track of the primary reason you're there. Make sure that when you sit down to practice you're clear about what you want to do. It's all too easy to pick up your instrument and 'just start jamming'. This is fine once it a while, these sessions can produce some interesting results. But, don't forget about the reason you're there. If you started something yesterday, review it, go back and make sure that it's ingrained in your playing. At the same time, if you have more than one project going, you're going to have to set priorities and keep them. If the projects or your interests collide, you're going to have to stick with one...for the time being at least. For example you're in a band and you're gigging regularly, but you also want to become a film composer. Both are quite time consuming so somewhere along the line, you might have to make a decision to go one way or the other. At the very least, there are going to be times and situations where you're going to have to focus on one more than the other. Essentially, once you decide on a course of action, some things are going to be mandatory to focus on, and others will be extras that you could try to fit in when possible.

The Projects Scenario

Really busy musicians usually have one or more (usually quite a few) projects going at the same time. How do you manage this? How do you fit it all in? It's all about organization. You'll find that accomplished musicians are not just really hard working but organized. Organization and management aren't things that are usually discussed in music class. The more projects you have going, the more things you want to accomplish, the more organized you're going to have to be. There is no other way. If you aren't organized, the projects will suffer...sometimes all at once. Either you keep your projects to a minimum, or get organized.

Getting Organized

What does this mean? It means planning, deadlines, taking notes, making decisions, finances, and time management. All of those boring things that seem to get in the way. In fact it's the opposite. The more organized you are, the easier it is to be creative. When you know exactly what you want to do at any given time, it makes it easier to get it done. Instead of wasting the time away not knowing what to do, or what you did yesterday, you can get right to work. We've talked a lot about this in here before but here's a summary.

Plan. This always goes first. The further along you are in the project, the more detailed your to-do list should be.Always be planning. There are the initial steps of development, but planning should be done consistently since things change often.

Deadline. There needs to be sort of time-line. This isn't cut and dried...especially with music; but you need to put some sort of time-line together with a deadline. Try and stick to this. Projects get done more often when there's some cut off and urgency to them. The last 10 yards are often the hardest.

Notes. While this may not be intuitive, it's really important that you take notes. The better you are at this, the easier it will be to stay on top of things. Always make notes as you go along. Ideas and problems always pop up.Make notes on what you've done, what you want to do, any problems, and how you did certain things. If you've gone through a certain process once, writing it down will make it easier to remember for the next time.

Decision Making. This in a category of it's own because there will come a time to make some decisions. Set this time apart and look at the overall picture. Let the ideas stew for a while. Put all of the ideas together and make some decisions. If it's a tough call, sleep on it. You'll find you get the best ideas at the weirdest time. If not sure, just set a course for action and see what happens. You'll make mistakes along the way, learn as you go. Don't stop or hesitate for too long. A little step in the wrong direction is better than none at all.

Finances. This is another one that needs its own category. This needs to be a separate planning session. It's not easy to put this together but the more upfront you are about how much it's all going to cost, the easier it is to make crucial decisions. Money is a crucial decision.Not thinking about it or not dealing with it won't make it go away. Planning in this area helps eliminate those nasty surprises that come out of nowhere and you aren't prepared to deal with.

Time management. Of course this is the one that everybody thinks of when talking about organization. As you can see though, if you've taken care of the other areas, time management becomes a little easier. If you know what you have to do, and how much time you have to do it, it's easier to make it part of your schedule. This also includes taking things off your list and delegating if at all possible.Time management at this point is really making sure something gets done everyday and that you stick to the items on your lists. Of course you also must be diligent about not wasting time on anything that doesn't fit into your plans. All of the things on your list are time consuming, so you have to be diligent about your time.

The Details

So once you've decided what your goal is, what should you practice? Let's look at the metal band scenario. Unlike the film composer who will be working on their composing, music theory and learning different styles of music, you're going to be focusing on just the one. Secondly, whereas the jazz musician may start out learning a dozen variations on the blues, you'll be focusing on your scales, arpeggios, chord progressions, alternate tunings and learning your tunes (cold). In short, you are now practicing on purpose. You're practicing with a specific purpose with a specific set of goals, with a specific set of exercises. Another caveat, even if you know what you want to accomplish, don't try to learn everything about your style of music all at once. There are some lesson books that go into 8 and 12 hour guitar practice sessions but this isn't practical most of the time. You should still be focusing on the things specific to your goals.

For Example...

For example, in the metal band example, you'll want to spend a portion of your practice working on arpeggios (using alternating picking and sweep picking). Unfortunately there are a million different arpeggios with a million different fingerings. You should focus on the ones that are used the most and grow from there. That way you'll have the 'basics' down before getting into anything to esoteric. You know you'll be using and applying these almost immediately; when they come up in songs, you'll be prepared. How do you figure out which are the ones to learn first? Two ways: first is by learning songs in your genre. There are chord progressions, scales and/or idioms specific to your style. Once you've learned a dozen or so songs, you'll start to notice some similarities. You'll notice the same scales, chords and arpeggios popping up again and again. It's what makes the style of music sound like it does. You may have to spend some time looking for and analyzing these things, but they're always there. Look for books, videos and other learning materials on your style, in the (specific) subject you're interested in. It doesn't matter what you're trying to learn, the info is out there! In the metal example from above, even though there are a ton of arpeggios and fingering available on the guitar, there are a couple that metal guitarists love to use over and over; mostly because they sound great. Learn and memorize these ones first. Then when you have time, go into things that aren't usually used in your style and try to apply that. It may set you apart from all the other bands in your genre.

Going With It

Whatever you decide on what it is you want to do, your course of action will be slightly different than everybody else's. Even two people in the same band may have a different set of goals. It's all very personal when it comes to artists managing their careers. The more organized you are, the more you plan and make notes, the easier it will be to get things done. The easier it will be to track your success and see where you are heading. The easier it will be to achieve what you want to achieve. Above all, the more rewarding it will be when you look back and see how it's all coming together, and how it's all going exactly the way you want it to go.

Optimizing Your Creativity

Let's face it, when it comes to creativity, inspiration can be fickle. There are times when you're on fire and everything you do seems like a complete gem. Then there are other times when it all seem like complete garbage. The worst seems to be when ideas don't seem to be coming at all. There are things we can do to optimize the time when we're the most creative and what to do when we aren't.

Being On Fire

We all love those times when ideas are just flowing. The ideas are coming from every where and one seems better than the next. We all know though, that these times are fleeting and they seem to leave just as quickly as they arrived. Creativity can be like a little child. They come and go when they please. They're very erratic and can't be depended on. They can last but usually they're quite short...or never long enough. And the worst part is that the harder you try to get them to abide by your will, the harder it is to get them to cooperate. In short, when it comes to inspiration, we're at the whim of the gods.



Taking Control


So we can see that creative inspiration won't abide by our demand and will. Like the little child analogy, there are ways we can set the stage to entice creativity to come our way. We can make sure that we take time for it everyday. Creativity needs a playground. It needs a time and space to play. We can't always be there when it wants but we can set the stage and see what happens. We can have an open mind and most of all, patience. Great ideas come when they're good and ready. You should be ready too.

The Repetitiveness Of It All

Our brains work in different ways depending on our environment. Have you ever noticed that you get great ideas at the weirdest times? There are good reasons for it most of the time. There's no mystery why we come up with our best ideas when driving, vacuuming or taking a walk. Something happens to our brain when we do simple, repetitive tasks. Much like our brain when we take a walk, the brain gets into the the repetitive motions of the activity and spurs the ideas in the back of our brain. We want to get our mind into this area when we're trying to be creative. That's why being consistent with your work is such a valuable asset. Being in the right mindset helps too.

Cramming Your Day

There's also the opposite effect when we're stressed out, or trying to do too many things at once. Creativity usually can't fit inside your mind when you're preoccupied with a million other things. Try to set aside a time where you won't be bothered. Try and forget your day. Don't put too much emphasis on 'getting something done' as much as 'seeing what comes up'. If at all possible separate your 'creative days' from your 'working days'. I try to get as many of my chores done in a single day so I can devote a separate day to just creating. Pick a time of day when your mind is more quiet. Ironically, I usually find this to be the morning, you may find something else. If you're writing and your mind is preoccupied with things to do, write them down and let them go. They'll be there when you're done.

Other Places to Play

Some people say that they come up with the best ideas in weird places but have trouble getting the juices going when they get home or into the studio. I've had some musicians tell me that they've had their best ideas when teaching and working with others. There are two reasons for this. The first goes along with the notion we mentioned earlier about the environment and repetitive tasks. When teaching students, teachers are usually in the same space and same environment mentally for quite a few hours. They're also doing actions that are very similar and repetitive. The other reason is the state of mind. When sitting down and trying to get creative in the studio, you may do a couple of warm ups and get right to it. You start to bang out a couple of ideas and wonder why nothing is coming. Like the child, creativity doesn't seem to want to play today or at least won't play on demand. In the teaching scenario, you aren't asking the child to come and play. You're simply working and trying to convey ideas. You're playing on your own and leaving it open to creativity if it wants to come in a join you. Of course since your mind is on the task at hand, this happens in your sub-conscious. Working on your sub-conscious is much more effective because that's the area where your creativity stems from. Your mind isn't concerned about coming up with the next best idea, it's simply involved with the task at hand.

So What Can I Do

The best way to stimulate creativity is to just start playing. It's much more interested in playing along than being told what to do. Some people work best when they put aside a particular time of day and just get to it. If you're dismissing this right off, don't. I've always felt that I needed to be 'in the mood' or at least 'in the right state of mind' to be creative. I've also always felt that I was more effective at night than at day. The problem with this was I never really tested it. The reason why I felt this way wasn't from concrete results but it was always the time I was 'in the mood' to be creative. It amazed me when I started working in the morning because I was busy at night and didn't like losing days. To my amazement, not only were the results better, but I was getting much more done.

The Space

We've talked about this in here before. I think it's a great idea to have an area set aside to practice so that when it's time you can just get right to it. When it comes to creativity, there are a couple of ways to go about this. It's usually better to have a space set up because you can all of your items there ready to go. All you have to do is pick up your guitar and press record. The opposite to this is to work in different areas and see what happens. You may find that with creativity you may need a change in atmosphere once in a while. Be careful about having a writing area. This may put more stress on your sub-conscious. It's better to have a 'play area' and just see what flows. After you've been at a while you may find that you can get creative in pretty much any space. It's all about getting the mind into the right space and not so much your body.

Patience Is A...

If there's one trait you need to cultivate when it comes to creativity is patience. You have to be patient and wait for the ideas to come. You have to be playful and see how things evolve. If things aren't going well, try another way. Try another chord, another groove. Try something and see what happens with that. Try not to be too judgmental at first. Children don't like nay-sayers. Or, the child may still continue to try but the judgmental will eradicate any ideas as soon as they arrive. Ideas need time to germinate and grow. We have to take our time and just see what arrives. Our first reaction may not be the best every time.

Hit the Beach


I've had other musicians tell me that they're the most creative at the beach or an area like that. This actually comes from our brain being in a playful envronment. If you're stting on the beach with friends and start jamming , you may find that ideas are flying. This is again because your mind is in that playful state. It's probably not stressed, happy and most of all free to explore. Of course you don't have to be on the beach for this to work, just get into the right mindset.

Not Tonight, I Have a Headache

So what happens when you're not feeling creative at all? What if you haven't felt like doing anything for a while and when you do something, you're less than impressed with the results? Two things may be at work here. Either there may be some turmoil in your life, and the mind is focused elsewhere. Or, everything may be fine but (for usually some completely unknown reasons) the creative juices just aren't flowing. Creativity isn't a science, so there are no hard and fast rules. We won't go into the psychology of it all, we'll just look for some solutions. First off, there are a number of things that you can do to get your mind back in order without having to spent time with your therapist.


Shut It Off

Unfortunately, our minds aren't a finely tuned machine. There are things that we have no understanding of at all. But there are some things that we can do to slow the mind down. We can work on our minds like we work on our music. We can practice letting go, concentration, focusing and mind games that stimulate the creative areas. First off, one of the best things for musicians to do (actually I think it's beneficial for all people), is to work on quieting the mind. The mind is in constant motion which isn't always a good thing. One of the reasons why you seem to get creative at the weirdest moments is because the mind is quiet. I don't mean quiet in the 'not doing anything' way but quiet in the fact that it's concentrating on only one thing. Take time everyday to quiet the mind. The best method is to simply count your breaths. It seems really simple until you try to do it. You quickly realize how much junk is running through your mind at any one time.


Exercising the Mind

One thing I like to do when teaching people how to write is to throw ideas around. There are specific exercises that I do that stimulates the mind and gets the wheels turning. These work because it challenges the mind instead of 'waiting for inspiration'. If you're a writer and having trouble coming up with new ideas, try some exercises, get out of your regular cycle and see what happens. Most writers don't like the results of most of the exercises but they're there to stimulate the mind. They actually lead to something great.

Mind stimulation exercises for songwriters:

1. Give yourself an odd assignment. a) write in a musical style that you're completely unfamiliar with. I usually will give a metal guitar player an assignment to write a pop song They usually hate this but do quite well. b) write in a lyrical style that you're completely unfamiliar with. I will ask a pop songwriter to write a song based on a ridiculous theme. (e.g. rabbits falling in love, what it's like to be a dog, the political climate in America). You get the idea.

2. Become a remixer. This involves taking somebody else's work and seeing what you can do with it. Some famous composers did this all the time; Bach was famous for using folk melodies. In essence you would take the backing track (or form, or chord progression, or groove) from a song you love and see what you would do with it. This is great for writers who have a hard time with re-writes since it makes you come up with something in place of a well known piece. This can also be applied to lyrics. Take the general theme (or main line) and write a new lyric.

3. Get a book on music theory or take a course. Nothing stimulates the musician's mind more than learning other kinds of music. Learn a new chord progression or lick or some theory and apply it to your music. Even if you're in a terrible mood, it won't last long. The ideas will be flying in no time.

4. Get a toy, new way of working. Sometimes the best way of doing something is to take another approach completely. If you've always wrote on guitar, try piano. While it's not always the best solution, sometimes just getting new toy gets you in the mood to get to work. How many times have you gotten something new and just couldn't wait to get home and get to work. Be careful not to overdo this one though. Some people have way too much gear and not enough work done. 

With all of these exercises don't worry if it's good or not, just see what happens. The point is to get the juices flowing, not to create a masterpiece.

Be Like Nike

One of my favorite websites is a site about how creative people work. It's mostly writers but it gives great insight into their creative processes. One of the things that stands out to me is that fact that most of them get up early and just start working. There doesn't seem to be any regard to inspiration, creativity or even being motivated at all. It just seems like a normal part of their day. I think that therein lies their secret to success. Inspiration or not, the most important thing is to be there and get the ideas flowing. To work through all of the problems and find what you're trying to say. It's a matter of 'just doing it'. And that's it. It's not very romantic and doesn't make for great movie plots but it's honest.

True genius may come along once in a while but if you're in there everyday, you'll find that you'll be able to get creative on a daily basis and not worry as much about finding inspiration. Happy writing.

Perfectionism for Musicians

Something that a lot of musicians and artists often deal with is perfectionism. I know this first hand because it's something that I have to fight everyday. Perfectionism is debilitating in the fact that it can stop you from doing the thing that you love the most. It causes stress and undue friction within your own life. And, can actually cause the opposite effect of it's 'purpose' in the first place. While there is a place for high artistic standards, when your standards become so high that nobody can live up to them, how are you supposed to create your art?


Getting Support 

There can be many underlying causes for perfectionism; we're not going to get into them here. We're only going to look at the problems and some solutions. One thing that is important to mention is support. If you're perfectionism is getting in the way of you actually getting anything done, one of the best things you can do is find some support. Support for perfectionists can come in two forms. One is psychological support either from a professional or a close friend. This doesn't necessarily have to be a formal thing, just having someone to talk to about this is usually enough to help people get out of the rut. The other type of support is artistic support. Musicians and artists need a community. Artists have always sought out other artists for support and comradery. This serves not only as a support and friendship but also artistic support. Other artists know what the artistic process is all about. They can also be helpful with ideas and usually a sense of healthy competition helps in getting a 'fire in your belly'.

Just Start

One of the best ways to get anything done is to just start. Perfectionists, as a rule over-think things and try to find the best time to do something. The best time to do something is 'right now'. For a lot of perfectionists, the start is usually the hardest part; the second being finishing and letting the project go. There are two things that usually stop perfectionists from starting and they both have to do with over-thinking. Either they over-think the entire project; seeing all of the steps that need to be taken, seeing all of the problems that can arise, and see all or the limitations of their inability to get the job done to their satisfaction. Or, they over-think their initial ideas; negating any thoughts as not right before working through the ideas. This pretty much kills the project from the get go. Over-thinking the beginning is usually enough to stop them from getting on the project. Of course the best solution is to just start but there is more to it than this. There must be some alteration in the mental process before the start. That means either shutting off all of the internal chatter, or changing the internal chatter.

One of the best ways to just get started is to set apart a short amount of time and just let ideas flow. Try half an hour to start and don't kill any ideas, just let them flow. You might want to try the Pomodoro technique. Have a set time everyday where you work on your art. This way at least something gets done everyday. You'll be surprised how often great ideas creep in when 'you didn't feel creative' in the first place. Also, always have deadlines for your projects. They don't have to be written in stone, but at least it gives you some kind of timeline.

Let It Go Already

The other biggest problem perfectionists have is actually finishing the project. While this may be a universal problem, perfectionists take it to a whole new level. Perfectionists have unrealistic expectations. They envision the perfect ending (and results), and nothing else will suffice. There are a couple of problems with this thinking. First off is rarely do things (especially in art) live up to the expectations we put on them in our own minds. There has to be some give with this. This will always be an issue and with every project you're going to have to decide a) when it's done b) if it's done c) if it's never going be done. Some projects don't turn out like we want and at some point we have to be honest, let it go, shelf it and look at it as learning experience. In short, you're going to have to decide if it's good enough to put your name on it and put it out there. Second, artists sometimes lose their objectivity. After working on a project for an extended period of time, you start to lose your ability to effectively evaluate your art. It's important to be able to take a step back and take a second look; usually after you've taken some time away and your mind is clear. Sometimes artists lose all perspective. This is where the community and support comes in. In this way, you can feel free to create your art, and when you're unsure, or just need some feedback, you can seek some outside input. Try and find objective, knowledgeable support. In this instance, family and friends usually don't cut it. You need to find a knowledgeable source that will be honest with you.

Kill the Editor

I've written about this before. One thing that may kill your creativity is being too closed or waiting for the perfect idea from the get go. Some people have no filter and some aren't as hard on themselves as perfectionists. The problem with waiting for the perfect idea is twofold. First of all, sometimes ideas have to be worked through before the gem shows itself. It's a matter of taking an idea in it's raw form and working it into something memorable. The other problem with waiting for the perfect idea is that our internal editor isn't always spot on as far as making creative decisions. Sometimes you have to try some ideas and then leave them for a while. Let the ideas perculate and come back when your mind and ears are fresh. It always amazes me how different some ideas sound the day after. Sometimes I'll write something and think it's the most incredible idea I've ever come up with only to be completely disappointed on the day after. On the other side, sometimes I'll just get something down and not think much of it only to be completely surprised on my second listening.

Great Expectations

Of course the definition of a perfectionist is someone who has impossibly high standards. Working through ideas and trying to create something extraordinary is one thing; never being happy with anything that you create is another. Some artists and writers go through their entire life not happy with their creations. You might be thinking that having high standards is what makes your music great and separates you from the rest. If this keeps you focused and motivated, then it works for you. If you create many pieces but never finish. If you finish projects but then hide them away. If you make excuses that 'you aren't quite ready' and need to finish one more project before putting your stuff out there, then there is an issue here.

Not An Excuse

Before you think that letting perfectionism go is an excuse to be mediocre, you're wrong. This is all about getting things done but also getting it right. This is for the people who have been working on the same three songs for a couple of years; or, the one song that never gets done. This is for people who don't try things or flip flop from one project to the next because they never live up to expectations. One thing about great artists is that they never accept anything but the very best from themselves and their art. There comes a time when you have to let it go. You have to work through the problems, take a step back, decide if it's a good representation of what you set out to do, and then move on. It's important to start, work through, finish and move on. If you miss one of these steps, your art will never see the light of day.

Working Through It

Having high standards for your art if great. Having completely unrealistic expectations may be stopping you from creating your best work. It may be something you have to work through often; most artists do. But there has to be a time where you just get to work. try not to over think things or look for the perfect results. It's important to just enjoy the process and let the editor in later. Do the absolute best you can do right now, evaluate, and then let it go. You may come back one day realize that in spite of it all, you've created something great.

Effective Memorization In Music

One of the most important parts of learning music is memorization. Whether it's a small piece. a couple of licks, scales, chords, or an entire performance, memorization is something that musicians have to deal with on a daily basis. Yet this is rarely mentioned in textbooks and music courses. One thing that should be part of every musical education is how to effectively use your memory. Simply learning a piece isn't enough: memorizing the piece is another process entirely. It must be dealt with accordingly. If you don't believe me, just look at how you would approach trying to remember a phone number. If you had a pen and paper, you would simply write it down and forget about it. But, if you had to memorize it on the spot, you would probably go through a couple of exercises or techniques to help you remember the number. You know that simply repeating it to yourself just once isn't going to work*

*Unless there was a memorable pattern or special characteristic in the number. Marketing companies are well aware of this fact. Just see how many times a number is repeated on an infomercial or how companies like to make their phone numbers into simple, easily memorized sequences.

It's the same with music. Learning something and memorizing something are two separate brain functions and two separate processes.Once you decide to learn a piece, you go about learning the fingering and different sections of the song. Some parts may become part of your internal memory through simple repetition. Musicians will rely on this most of the time. They figure that if they repeat the piece enough times, it will be internalized. This is only half true.

Like the phone number exercise above, if the number is repeated enough times, it will be memorized. But what happens if you suddenly forget it? Or, what if you remember the first part but can't remember the rest? What happens if there is a long time between uses and the memory gets lost? This is where the memory needs help.

Stuck in the Middle

One thing that happens to a lot of musicians is the 'stuck at the bridge syndrome'. They'll have the verse and chorus down no problem. But when it comes to the bridge or a separate section, the mind will suddenly go blank. This happens a lot with the bridge but also happens with sections that are complicated, or obscure parts that occur at just a single part of the song. There are a couple of reasons for this. The usual reason is that since it's a part that isn't played as much, it's easier to forget. Another reason is because parts like this are easily overlooked when learning a song. If a song has a unique section or part. it must be noted in the memory. Or, they may have the lick memorized but missing other parts. The lick may be memorable in its own right whereas you might be saying to yourself 'how does that bridge go again?' because it's not in your musical memory.

Going Blank

Most musicians have been through this. Sometimes when playing a piece, (usually with longer pieces) your mind will simply go blank. For the life of you, you can't remember the next part, Sometimes you can even 'hear' the part in your head, but for some reason, the fingering just isn't coming to you. Of course, if you're relying solely on your physical memory (more on this later), you won't remember the part that comes after that either. There may be many reasons for this but the biggest reason is because you've memorized the piece based solely on the physical. You've memorized the fingering or how it looks on your instrument and nothing else. The problem with the physical memory is that it's based solely on feel. If something changes in the feel, you lose focus, or the picture in your mind changes, then you completely lose your place. There is nothing else to fall back on.

Two Planes

When it comes to memorizing, there are two different planes that we're dealing with here; there is the mental plane and the physical plane. You want to have both at your disposal. All too often musicians will depend completely on the physical and ignore the mental. They will memorize a piece based solely on the fingering and how the piece looks and feels on their instrument. The biggest problem with this method is that it's too linear. The way one section feels is completely dependent on the section that proceeded it. Have you ever tried and started a song from a completely illogical point? By this I mean not at a new section but right in the middle of a phrase? If you have, you'll know what I mean about memorizing based on the physical. Sometimes it's impossible  to remember (or even play) a piece from a completely arbitrary point. The tactile method also becomes problematic when looking ahead. If you've mentally memorized the piece, it's easy to see the whole piece or separate sections. If you're going completely by the physical, it's a lot harder to see one part without the part that proceeded it.

Memory Techniques

Memory techniques have been around forever. The Romans were famous for their ability to remember facts and dates. The reason for this was the Romans had many different techniques that stimulated the brain to remember facts (and the fact that pen and paper weren't usually handy!). Some of the methods used were association, patterns, chunking, and repetition. 

Ripping It Apart

When memorizing a piece, one of the first things you're going to have to do is organize the piece (or whatever you're trying to memorize) into a logical thought or progression. That means dissecting the piece; separating pieces into sections, separating sections into phrases and parts, and creating highlights and milestones within the piece. Most orchestras will do this automatically when rehearsing a new symphony. The score arrives with all of the relevant sections separated and the bars will be numbered. The musicians will make notes within the score to remind themselves of special phrases and performance notes. If it was a song, you would analyze the different sections. You would then write it down on a single piece of paper so you could see the entire song at a glance. You would then be able to memorize the entire song, along with any special notes at once. The same process would apply to anything that you're trying to learn. The breakdown and organization must come first, because this is what your memory techniques are going to be based upon.

Chunk King

Much like trying to memorize a phone number, memorizing pieces of music becomes a lot easier when using the 'chunk' method. It's simply a matter of taking pieces and memorizing them in chunks instead of trying to memorize the entire piece at once. Also, like the phone number, it's better to piece the chunks together in a logical fashion. That would mean memorizing separate sections, highlighting certain parts, noting milestones and special characteristics, and putting the piece together in a logical fashion.

Shout It, Shout It Loud

If you've ever spent a night trying to memorize facts before a big test, you know the value of verbalizing. You simply want to take what you've learned and verbalize it into a coherent idea. For example if trying to memorize a song, after you've organized it into the different sections, you should verbalize out loud the order of the song complete with notes and special sections. For example; verse and chorus repeated twice with a tag at the end of the second chorus. C F Am G in the verse, C G Dm in the chorus. A 12 bar bridge in Em and the chorus repeated twice. Most songs can be organized and memorized in this way. If there are special sections or parts, take a second to make a note and remind yourself about these parts.

Games Without Frontiers

There are a couple of ways we can get our mind working and tricking it into remembering things. One thing that humans do well is patterns. Whenever learning a new piece of music or trying to memorize something, look for patterns. It's much easier to remember a 5 figure number repeated 3 times than it is to remember 15 individual numbers. If a section is repeated, or a pattern is repeated, take note. There might be a slight difference on the repeat of the section; just remember ' the A section with a ii V at the end of the repeat'. Another technique that works well is association. If the song you're trying to remember has a chord progression similar to another song you know well, it's much easier to remember the chord progression based upon that association. Jazz musicians do this all the time. They're famous for knowing hundreds of songs (in fact, it's part of their education). Quite often they will associate certain chord progressions with certain songs. Once you're familiar with the chord progression, it leaves up a lot of room to improvise within that tune. Every jazz musician knows the 'Rhythm changes' and can spot them easily within a tune. Jazz musicians also use this technique to memorize the 'B' sections of jazz tunes since these can sometimes be problematic. Also, if there are any changes or substitutions within that framework, having the entire progression committed to memory makes it easier to keep track of where you are.

Messing With the Order

One thing that happens a lot is you'll often remember the first part of a section only to fail to remember the end. One technique that helps the memory a lot is breaking up the song. Try playing a section from the middle. Try playing the last part, then the middle and lastly the first. What this does is make our brain remember each part in its own right instead of the logical linear progression. With this method, if you get lost on one section, it makes it a lot easier to pick it up at the next with no hesitation. Also, if you practice the piece this way, you'll end up practicing the end just as much as the beginning, breaking the 'forgetting the end' syndrome.

Lose the Paper

I have met quite a few musicians who don't read music. While this can be a handicap in certain situations, it can help in memorization because the music must be memorized immediately. I usually will write the music down. I'll have most of the parts there and all of the different sections of the tune marked down. This usually comes in handy when discussing separate parts with other musicians or trying to remember the tune the next day (since it's written down, it's usually pretty accurate). It's really important though, that if you have the music on paper, to get it off of the paper as soon as you can. The musicians who I mentioned earlier, while at some of a disadvantage, had something over the musicians who had written things down. Since they don't have the option of writing things down, they must memorize the different parts immediately. They were usually pretty good at memorizing long complicated parts because that's what they have to do all of the time. There is no other choice. Therefore all of the repetition, association and memory techniques listed here, are things that they had to do all of the time.

Don't rely too much on the printed page.  Try to get it off of there and into your head as quickly as possible. Have the advantage by being able to memorize something immediately but also having the choice to write it down if necessary.

Using All of Your Senses

There is a whole process that jazz musicians go through when learning new tunes. It usually starts with learning the melody. Not just playing the melody but being able to sing it. They will then go through the bassline, chord progression, different voicings within that progression etc. (We'll go into this more in a later post). The point is that there is more going on than just learning the fingering for your part. If you've got the lyrics memorized, you know the bass part and any other extras, it makes it a lot easier to memorize the tune. It then becomes the difference between knowing how to play your part in a tune, and knowing the tune inside out. If you can, try this approach with everything that you learn on your instrument.

Do It Again

The best way to learn anything is through repetition; every musician knows that. The process of memorizing parts, scales and pieces also must be repeated. That means once a piece is memorized, the process must be repeated for the piece to be completely ingrained in your memory. Like mentioned in articles here before. It's best to review as soon as possible after learning something new. Another review should be done the following day, then once again in a couple of days, and then once the next week. You get the idea.

Keep It Separated

Music and musicianship absolutely depends on having a good memory. Having a good memory, much like learning to play your instrument, is a skill that can be developed and honed. When learning a new piece, scale, or technique, memorizing must be a separate process. The material must be put into a logical organization. The piece must be seen both as separate parts and as a cohesive whole. Using the different methods (chunking, verbalizing, association), the piece must be memorized. Then the whole process must be repeated and reviewed at regular intervals. Make sure this exercise is separate from the practice session.

Working Solo: R&D

Last time we talked about some of the problems with goals setting and planning when working on your own. When you're a musician most of the time you're going to be on your own which makes it that much harder trying to get it all done.


What to Do…What to Do

Planning is simply figuring out what’s important, what needs to be done, and how it’s going to get done. The problem with the music industry is that there isn't one way to the top. There are as many ways of getting there as there are musicians. So what do you need to do? What's your first step? What's your next step? What needs to be done first? Of course the answer to any of these questions has a lot to do with where you are now and what you want to accomplish. There is no set approach for artists and musicians; more now than ever since the turn in music industry in recent years.


R&D

You are going to have to spend a part of everyday on career development. Most companies spend a good deal of time (and money) in research and development. As a business, you're going to have to do the same. It’s said that in business that you should be reinvesting a certain percentage of your profits back into R&D; otherwise you become obsolete and die. You need to be doing the same. That means spending time everyday doing some research in figuring out what people in your industry are doing to make it. Much like practicing and working at your craft, this is one of the things that you should be thinking about and working on everyday. How do you go about this? What do you do first? If you’re just starting out, you’re going to have to do quite a bit of research and a lot of trial and error.


This process of research and trial and error never actually ends; you just get better at it.


The ‘R’ Part

For a starting musician (or even if you’re not), you will need to do some research first. Go to your library and take out books. There are tons, pick a couple but don’t just read them, make notes and put some of the ideas into action. This will be the beginning of your master plan. Don’t worry if you’re doing the ‘right’ thing yet. It will become apparent what works and what doesn’t soon enough. Do some research online. Don’t spend too much time on this. You could spend years going through all of the stuff online and end up wasting a lot of time. Do the same process as you did with the books. Take some of the good ideas, print them out on a separate sheet so you can access them anytime. This will get rid of any temptation to do any extra surfing while trying to work on your goals. Make a list of some actionable goals from the ideas you got online and then get out there and do them.


People, Places

Get out there and talk with musicians. This may be your greatest resource. Even if they aren’t ‘rockstars’ yet, that doesn’t matter. Every musician has stories and lessons learned. Remember to take it all with a grain of salt. See what ideas you like and try them out. If you hear one piece of advice over and over; memorize it and learn from it. It may save you a lot of pain later. There is no substitute for real experience but with a little research there won’t be as many surprises. Make no mistake though, there will be surprises!


Always have research and development as part of your to do list. No matter where you are in your path, this always needs to be on your list. This must be an ongoing thing.


The ‘D’ Part

The development part has a couple of areas that needs to be considered. Just putting your research into action is part of your development. Tweaking that research and you master plan is another. Remember we’re talking about career development here and not about your art; development of your art goes is another article entirely. Development in your career also involves networking, administration and of course finances. If you’re anything like me, you’ve spent years working on your craft, leaving the business largely alone. There is no place for this anymore. Just as you work on songwriting everyday, you must work on the development of your career. This means that once the research has been done and you’ve written down some goals, it’s time to see what’s working. Most businesses have a method of measuring if something is successful or not. They measure if it was worth their while and check to see if they can replicate that process. If you can do this, it’s a good idea but a lot of the things that you do in your development wouldn’t be so clear-cut. Sometimes the most unexpected things happen as a result of something that seemed arbitrary at the time. Sometimes upon closer inspection, there things don’t turn out to be as arbitrary as you think. It’s all part of the process.


Anything Happening Yet?

There will be times that you can see a direct result of something that you had done as part of your R&D. This may be getting contacts at a networking event, meeting other musicians at a jam night or simply getting sales from a local gig. When you achieve some success, it’s important to take a second and figure out why. If you can trace your steps back and see what you did and how it resulted in that particular success, you’re more likely to do that again in the future. It simply means that this process or goal works for you and it’s always a good idea to build on successes. A lot of very famous musicians have built a career on making the most out of one or two ‘small’ successes.


Your Career Workbook

One of things that you may want to do right from the outset is put together a career workbook. I have one of these for my practice sessions as well but having one solely for your business, planning, career and PR is a good idea. Once you’ve made a list, put it in there. Any marketing ideas? Put it in there. CD release checklists, networking events, etc. Put it all in there. Some people like to have their workbook on their computer. I personally find a binder much better. I carry it anywhere, doesn’t need any batteries or back up, and I have a hard copy of all of the most important items. This workbook should be opened at least once a day and checked. It’s important that this is a vehicle for action and results; not another system that you spend all of your time on tweaking and updating. It’s a WORK book.


Try and Try Again

If you’re just starting out don’t worry too much about getting it perfect. Check out some of ideas that you’ve found in your research and get started. Keep a list of what you want to do and what you’ve done. If something works, make a note of it. Rework the research and the plan. It’s a work in process.

Outline Your Music Career

Image via Wikipedia

It seems like a lot of musicians out there, I've gotten into the habit of doing a lot of writing. These days it seems writing is becoming more and more useful and used in everyday living and especially online. This includes not only of the emails and correspondence that I have on a daily basis but also all of my online activities that includes blogs, commenting on other sites and reviews. Whenever I had something to write I would generally just start and see where it would lead. This would be fine for most activities but whenever I had to write something that was more than a couple of lines long, or had a specific point to make, I found I would spend a lot of time rewriting and trying to get the article to have some sort of consistency and cohesion. After struggling with this for a while I learned about the value of starting with an outline.

The Outline in Writing

An outline can do a couple of things that can help your writing immensely. First of all, it's a great way to get all of your ideas down in a hurry, just making points on all of the different things that you want to cover. It's basically brainstorming. You think of all of the topics that you want to cover in your article and make some points on each of the ideas. It also helps you to organize those ideas. You start just writing out ideas and soon enough you start to see some connections between some of your ideas. You may also come up with new ideas based on the ones you've already put down. It helps in organizing your thoughts. It may help streamline the article too by seeing which ideas don't fit the topic and may be useful in another article. You may find that after brainstorming, you have enough for a couple of articles. Lastly, it helps you keep your focus by looking at all of the points available and making sure that you stick to the topic and don't veer off course half way through the article.

Writing out an outline really helps your writing. It helps you effectively communicate with your fans and create interesting content for your sites. Second, it helps with your correspondence with others. Email is still the reigning king of communication and being able to articulate your ideas and thoughts well is a great skill to have. Lastly, and this is the point of this article, it can help in deciding what you're going to do with your music career and can help in making decisions and sticking with a desired plan.

Brainstorming

We're going to use the same process to outline how you want your music career to go as the process in creating a great piece of writing. It involves 3 basic steps: brainstorming, planning and action. The first two steps are the same processes that I talked about earlier in preparing to write. Basically it's just sitting down and writing down all of the ideas that come to you on a particular subject. I've mentioned it as part of the outline process because I generally will do both in one sitting: brainstorm and then create my outline on the same piece of paper. You may want to do this in a couple of steps but I find that it's better to complete as much as you can in one sitting. The reason for this is that sometimes when you sit and think about something for a period of time you may have a hard time starting but once you're in the middle of it, the ideas may start flying and it's usually a good idea to just let them fly and worry about limits or problems at a later date. We're not concerned with details yet, we're just focusing on ideas and at this point; none are bad.

Priorities

Once you've got all of your ideas written down. It's time to set about figuring out which ones you are going to pursue and make a reality, which ones you'll be tackling at a later date, and ones which will be have to be put on the back burner or completely eliminate. If you're worried about missing something, don't: all of your ideas are written down and if you come up with something at a later date, you can simply add it in.

For this reason I always carry a notepad with me and jot down any ideas that come to me. You never know when you're going get inspiration and come up with a great idea. If you think that you'll remember it later, think again. It's always better to write it down when you think of it, that way you know that it'll be there and you can free your mind to come up with more ideas!

Decisions

Once you've written down a bunch of ideas, it's exciting to see all of your ideas and dreams. It usually becomes a little easier to decide what you're going to do once you can see all of your options right there. Sometimes though, when you see all of the things that you want to do, it could become overwhelming trying to decide on what to do first/next. This happens sometimes when bands see all of things that must be taken care of when releasing a CD. Here again, our outline comes to the rescue. If you have all of the things outlined in front of you and you're a bit overwhelmed, the best thing to do is to just pick something on the list and get started. If it's the wrong thing to do, it'll become apparent pretty soon. Either way you've started and you have some momentum going. Once you've started on something, you can sit back and see if it brings any results. If it does then you know you're heading in the right direction. You'll still have to make some adjustments to your plan but you're moving ahead and things are getting done. Having the outline in front of you can help you decipher if what you are doing is bringing you closer to your goal or if you're heading in the wrong direction. It's having that outline there that allows you to stay on track. It's like having a roadmap and it case there's any trouble or questions, you just have to refer back to the roadmap.

Work in Progress

The difference between this and a real roadmap is this outline is a work in progress. It's going to have to be continually adjusted and updated. Once you've set out and done a couple of items on the list, you'll have to take time out and see if your actions brought any results and check if you're heading in the right direction. We'll talk in a future post about some of the decisions and questions you may want to ask yourself when going through your brainstorming sessions. This outline will have to be updated and new ones will have to be created on a regular basis. Once you get into the habit, it becomes easier to do and you'll be more effective in planning your future and seeing those plans to fruition. Writing out an outline is an effective way to organize thoughts and streamline the creative process. It helps in brainstorming, writing, organizing, and in this case, is very effective in planning your music career. Take time at least once a month to outline what you have achieved and what you plan on doing next and you may find yourself getting more done and getting further than you ever imagined.