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Jerry Bergonzi’s Secret

POSTED ON November 04, 2016   |   Post A Comment

To follow up on my article, Forget 10,000 Hours of Delayed Gratification—Practice Flow, I want to share insight into the high-flow practices of two my favorite musicians.

One of my most important mentors, saxophonist Jerry Bergonzi, was interviewed in DownBeat this month:

I love to practice, and I don’t practice to get better. That’s my secret. I practice because I like practicing. People say, ‘Do you do yoga?’ I say, ‘Yeah, every time I take out my instrument.’

I get in that zone physically, emotionally, mentally, spiritually. That’s yoga. Union. I’m in it. That’s why we all play music. We’re addicted to the present tense. It’s not “Let’s talk about me”; it’s about being in the zone.

I’m not a master. Music is the master; we’re all students. What is great music? It’s not something that’s more complex or more sophisticated. It’s something that just is. It’s pure.

Music is a disease. You’re born with it—you can’t get rid of it. It’s terminal. You die with it so you might as well give it everything you’ve got.

– Jerry Bergonzi

When I was studying at New England Conservatory in 2002, trumpeter and composer Kenny Wheeler described how he accessed flow to compose:

The process I go through to write or compose a new melody is this–I get up about 7:00 and don’t wash or shave or anything, but put on a bathrobe or dressing gown and take a couple of biscuits, a tea, and sit at the piano which is an old slightly out of tune upright. Then I play through some 4-part Bach Chorales. After that I try, with my limited technique to play through some Bach 2 or 3 part Inventions or maybe Preludes. Then I fumble through some more modern music such as Ravel, Debussy, Hindemith, Bartok or maybe the English Peter Warlock.

And then begins the serious business of trying to compose something. This consists of improvising at the piano for anywhere from 1/2 hour to 3 or 4 hours or even more. What I think I’m looking for during this time is something I’m not looking for. That is, I’m trying to arrive at some semi-trance-like state where the improvising I’m doing at the piano is kind of just flowing through me or flowing past me. I don’t mean at all that this is any kind of a religious state but more of a dream-like state. And then, if I do manage to arrive at this state, then I might play something that catches the nondream-like part of me by surprise. It may only be 3 or 4 notes. But it’s like the dream-like part of me managed to escape for a second or two from the awake part of me and decided to play something of its own choice. But the awake part of me hears that little phrase and says “What was that? That’s something I didn’t expect to hear, and I like it.” And that could be the beginning of your new melody.

But there is no guarantee that you will reach this semi-dream-like state. After many hours you may not get there. But you might take a break, or you might have a little argument with your wife, and go back to the piano a little bit angry and bang out a phrase in anger which makes you say “Wait a minute! What was that?” There doesn’t seem to be any sure way of reaching this state of mind where you play something that surprises yourself. I just know that I can’t start the day all fresh at the piano at 7:00 and say to myself “And now I will compose a melody.” It seems I have to go through this process which I described.

I like a lot of the melodies I write because I don’t feel that they are really mine–I feel that I have tapped into some source and got them. So I don’t mind saying “I like them.” I heard somewhere that Hoagy Carmichael said about “Stardust” that he got it before anyone else did.

– Kenny Wheeler

Learn more about accessing flow states.

– ST

Reserve a free digital copy of my forthcoming book Creativity Triggers for Musicians.

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