Fear and anxiety are the biggest roadblocks to creative music making. The good news is the right strategies can ease the most profound phobias.
(Warning, there are a few swears. And I was a bit over-caffeinated, so I was talking much faster than usual.)
I created a Creativity Triggers for Musicians Facebook group to connect readers and creative musicians all over the world.
Of course, our most important connections are playing music together in real life. The value of a digital community is that we can:
– Connect with musicians across the globe
– Share music
– Ask and answer questions
– Find collaborators
– Share insight and resources
To create and perform great music, we need to connect with other people. Our creative practices are often stuffed into a practice room, isolating us from our peers. If we can break out of that sense of isolation, we can create more and connect with wider audiences.
– Kaley Lane Eaton, composer, vocalist, multi-instrumentalist
Download a free digital copy of my new book Creativity Triggers for Musicians. See you in the Facebook group.
Download a free digital copy of my new book Creativity Triggers for Musicians.
Creativity isn’t a mysterious or magical gift. It’s a practice.
Creativity Triggers for Musicians will help you express your unused creativity, break through barriers, and create an abundance of original music.
– Eight creative practices that underpin idea generation in any creative discipline.
– Creativity Triggers: frameworks for improvisation that draw from creative practices. These are similar to improv theater games and creative writing prompts.
Reflecting on our performances makes us stronger musicians and collaborators. You can ask and answer the following questions:
Listen and reflect with a detached and compassionate curiosity.
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.
This election is officially off the rails, so let me distract you with a couple videos.
You may remember the “jazz robot” videos from a few years ago. I just stumbled across the video I made in 2010. The material is mostly from real questions and comments from audience members—“That guy with the big cello was really getting into it.”
Yesterday, film composer Danny Elfman released a horror soundtrack to clips from the last debate, called Trump Stalks Hillary. Pretty terrifying.
Hang in there—only 24 more days.
Stop trying to beat everyone else. True success is creating work that no one else can replicate. Don’t aim to be the best—aim to be the only.
When you’re truly unmistakable, the competition becomes completely irrelevant. You’re not the best option, you’re the only option
– Srini Rao, Unmistakable: Why Only Is Better Than Best
Keith Jarrett doesn’t have any competition. If you want to hear Keith’s play live, there is no substitute for the man himself. Wayne Shorter, Esperanza Spalding, Bill Frisell, Roy Hargrove, and Pat Metheny are have carved out their own categories. They are unmistakable.
Are these musicians objectively the “best” at what they do? It’s an irrelevant question. These renowned artists have stepped out of the world of measurement into a universe of possibility.
The Playing Changes series presents and expands on concepts from my book, The Living Jazz Tradition: A Creative Guide to Improvisation and Harmony (which is on sale until Friday, June 15th on Amazon).
The bridge of George Gershwin’s “I Got Rhythm” is a chain of dominant chords that moves around the circle of fifths: