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Flow Presentation at CWU

POSTED ON July 31, 2017   |   Post A Comment

I recently put together a presentation about the inner experience of a musical practice that’s both effective and fulfilling. This is essentially what I wish someone had sat down and outlined for me 20 years ago. I dive into the topics of mastery, drive, and flow, and incorporate some entertaining images and videos (I’ve been calling this my poor man’s TED talk).

Last week, I presented at a high school jazz camp at Central Washington University. It was inspiring to hear students talk about moments that they tapped into flow— practicing, conversations, working construction, repairing instruments. The audio/video isn’t the best quality, but you should be able to see and hear everything. (I plan on producing a higher-quality version of the talk later on.) Enjoy.

– ST

Download a free copy of my Amazon bestselling book Creativity Triggers for Musicians when you subscribe to my email newsletter.

What Should You Think About While Improvising?

POSTED ON July 20, 2017   |   One Comment
Playing what your hear? The chord changes? The melody? Listening to the band? Remembering licks you practiced? Nothing at all?

Finding the Zone

Some of the greatest improvisers describe a peak speak of non-thinking, known as being “in the zone” or a flow state. In a 2014 NPR interview, Sonny Rollins says, “When I play, what I try to do is to reach my subconscious level. I don’t want to overtly think about anything, because you can’t think and play at the same time — believe me, I’ve tried it. It goes by too fast.”

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The Dabbler, the Obsessive, the Hacker, and the Master

POSTED ON June 26, 2017   |   Post A Comment

Are you on the master’s journey, or are you dabbling, obsessing, or hacking your way through your music?

In his book Mastery: The Keys to Success and Long-Term Fulfillment, George Leonard paints an inspiring picture of the masters journey. His insight helps us stay on the path in the face of the internal and external forces that can knock us off. Leonard’s discipline is the martial art Aikido, but his lessons in mastery are equally relevant to music (and any other domain).

Mastery is a path, a journey—not a destination. A commitment to the master’s journey is dedication to lifelong learning and growth.

Our progress toward mastery isn’t linear. We experience bursts of growth on our path, but the majority of our time is spent on a plateau, where we continue to practice even when we don’t see day-to-day results.


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Creativity Triggers Is an Amazon Bestseller!

POSTED ON June 17, 2017   |   Post A Comment

Creativity Triggers for Musicians went live in the Kindle store last week and hit #1 in a three music categories!


You can download the pdf for free here, and it’s free to share. Thanks for reading and spreading the word!

– ST

Summer Game Symphony Workshop at SPU

POSTED ON June 13, 2017   |   Post A Comment

Game Symphony Workshop

Unlocking musical creativity through group improvisation.

August 12-13, 2017 • 10:00am – 5:00pm • Seattle Pacific University

“My ears blossomed, my head exploded, and my creativity soared.”


Announcing the Game Symphony Workshop at SPU, an intensive 2-day workshop culminating in a concert of original works.

Designed for classically-trained musicians age 18 and up, Game Symphony Workshop is a collaborative music experience that generates the skills, confidence, and community to unlock musical creativity.
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Play Your Best Under Pressure

POSTED ON May 30, 2017   |   One Comment

Learn how to beat performance anxiety and perform your very best on stage.

This is the tagline for Dr. Noa Kageyama’s Beyond Practicing course. The class delivers on this promise and is unequivocally the most powerful music performance class I have taken. (FYI, this article is not a paid endorsement or advertisement.)

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The Trance of Measurement in Music Education

POSTED ON May 21, 2017   |   2 Comments

Our educational system often operates with the limiting belief that growth and achievement are testable and measurable. When this mindset takes hold of music education, we set a high bar for conformity and proficiency, but lose sight of artistry, expression, and courage.

Photo courtesy of Flickr/Alberto G
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Registration Open for the Game Symphony Workshop

POSTED ON May 10, 2017   |   Post A Comment

Join us for a two-day improvisation workshop on the campus of Seattle Pacific University.

Last year, our inaugural adult workshop brought together a group of professional musicians, serious amateur players, and educators. Through prompts, games, and experimentation, we crafted a compelling 70 minute set of original music. I’m thrilled to lead the workshop with composer, vocalist, and Seattle Symphony Teaching Artist, Kaley Lane Eaton.

Registration is now open, and we only have room for 20 participants.

GSW is a mind-blowing improvisation experience. I left that weekend having made new friends and feeling so inspired! As a music educator, I was able to take GSW activities into my high school and college classrooms and see big results! I was practically knocking down Steve’s door to find out when the workshop was happening again. This workshop is so beneficial for classical musicians who are fearful of sounding bad and making mistakes during improvisation. My ears blossomed, my head exploded, and my creativity soared.

– Sarah Bost, M.A. Music Ed.
Flute and saxophone

 

Kaley leading the group last summer

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“It Actually Works”

POSTED ON April 27, 2017   |   Post A Comment

I had the privilege of presenting six improvisation workshops at the Lionel Hampton Jazz Festival in Moscow, Idaho in February. The Lewiston Tribune reported on my “How to Practice Creativity” workshop.

Jazz – it’s about learning to improvise

Musicians take part in workshop during Lionel Hampton Jazz Festival
By CHELSEA EMBREE of the Tribune  Feb 25, 2017

Tribune/Barry Kough
Saxophonist and educator Steve Treseler of Seattle (background, left) listens to students work on his ideas for improvising jazz during a workshop Friday at the Lionel Hampton Jazz Festival at the University of Idaho

MOSCOW – Drew Lyall knew he had to do something.

The 18-year-old from Kimberley, British Columbia, approached the piano at the front of the crowded room in the University of Idaho’s Teaching and Learning Center. He had been instructed to improvise a tune using only the piano’s A notes.

Lyall admitted later that there was “a bit of fear” involved, but he played anyway.

The experiment was part of a Lionel Hampton Jazz Festival workshop on practicing creativity Friday morning. Steve Treseler, a professional saxophonist and teacher at Seattle Pacific University, led the workshop, where he encouraged students to take creative risks and explore new ways of making music.

Lyall was grateful for the experience.

“I’m always keen to jump into a situation like that,” he said. “It’s just a little bit more experience of being in a situation that you aren’t well prepared for. The more often you do that, then the better you are when you’re in situations like that that really matter.”

Treseler focused on three creative practices Friday morning – experimentation, play and limitations.

Artists experiment in much the same way as scientists, learning as much from hypotheses that prove false as those that prove true, Treseler said.

“This might not work, but I’m going to try it anyway,” he said. “Having that kind of mindset is huge.”

Play, he said, refers to a childlike perspective of the task at hand. The goal is not to improve or to be the best.

“The goal of play is to just keep playing,” Treseler said.

Though counterintuitive, Treseler said limitations can inspire creativity. He passed out “creativity menus” to the musician-packed audience, including limitations like Lyall’s to play only one note.

There was one trio that was ready for the challenge. Trombonist Jay Panchal, 16, saxophonist Peter Lee, 16, and drummer Nivedan Kaushal, 17, came forward and promptly put themselves at the mercy of the crowd to pick two limitations from the menu.

The audience implored them to play in constant vibrato and in an 11/4 time meter.

Panchal told Kaushal that they could keep up that tempo if Kaushal could – and the trio from Nanaimo, British Columbia, played.

“That puts you out of your comfort zone,” Treseler said as they finished. “… This is the right kind of experimental mindset.”

Kaushal told the audience he had to “really focus” as he drummed. Afterward, he added that it was “cool” to be able to try anything he wanted.

“It’s one of the fears to get over, actually, just getting up front,” Kaushal said. “Let’s be honest – you’re never going to see anyone here again. Why not completely mess up if it means learning something?”

The trio was most excited, though, when pianist Lyall joined them for another improvisation game. The newly formed quartet played their music in a call-and-response format, with each instrument using only three pitches.

“I really enjoy playing with people I’ve never played with before,” Panchal said. “… Being thrown up there and seeing what happens when you mix different groups together was so cool.”

“The cool thing is it actually works,” Lee added. “It just works out.”

Embree may be contacted at email hidden; JavaScript is required or (208) 669-1298. Follow her on Twitter @chelseaembree.

© Copyright 2017 Lewiston Morning Tribune, TPC Holdings, Inc. All rights reserved.

 

How To Bring Creativity To Your Private Music Lessons

POSTED ON April 17, 2017   |   Post A Comment

New article for private teachers on the Teach Well blog:

Even if you have little experience with improvisation and composition yourself, you can make a big impact on your students by helping them get off the page and create their own music during your private lessons.

The process nurtures creative, independent, and fearless musicians. As teachers, it helps us break out of our standard routines.

I’d like to share a few prompts from my new book Creativity Triggers for Musicians, which you can download for free here.

Read more on Medium.

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