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    Mark Bussey is a classical guitarist » who lives and plays in the Twin Cities. His day job involves a variety of » » technology and web related projects.
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    This is a place for me to share all things related to my love of guitar. If you're new here, you can browse the entries below to view some of my most recent activities. Otherwise, please feel free to dig into the more specific topic areas and items in the sidebars. Please feel free to share your thougts and reactions in the comments section on each entry!

    New Year’s Resolutions

    December 26th, 2009

    It’s that time of year when I’m tempted to set fresh goals, vow to improve myself, and avoid the pitfalls I encountered last year. Unfortunately, my long-range execution doesn’t always live up to my initial enthusiasm. As I’ve thought about it more and more though, I realized that accomplishing New Year’s Resolutions has a lot in common with good practice habits. They both benefit the consistent application of a a few simple rules:

    1. Set clear goals
    2. Break big challenges down manageable chunks
    3. Be patient with yourself and keep at it
    4. Step back and re-evaluate periodically
    5. Have fun and be sure to enjoy the process along the way

    STEP 1: For over a decade, one of my goals was to become comfortable playing in front of other people. I’d made little headway and I actively avoided situations where I might be asked to play in front of anyone. When I finally shared my goal with my teacher, she gently suggested that to get better at something you need to practice it repeatedly and consistently. Translation: I wasn’t playing in front of people, so I was unlikely to get any better or more comfortable at it.

    STEP 2: This was daunting: I needed to be playing in front of people. Breaking it down, I needed to start by learning to play something really well, and I needed to find somewhere to play it. I settled on playing some pieces I’d been playing since I’d started taking lessons, nothing fancy. Going to an open mic had always seemed intimidating, but OpenStage had just formed, and playing for a bunch of other guitarists seemed a little less frightening. I just needed to show up and play once, I could figure out the rest after that.

    STEP 3: The first round didn’t go as smoothly as I’d wished: I struggled to find the strings with sweaty, shaking hands. But, I survived the experience and met a number of really nice people. So I resolved to give it another go and show up the next month. Next time, things still didn’t go as well as alone at home, but they went better than the first time. So I kept coming back. Month-to-month, I didn’t feel much change. Over time, though, playing was getting easier and the gap between practice at home and playing in front of people was growing smaller.

    STEP 4: Each month, I’d notice something new about what happened when I was playing at OpenStage. Here’s some of what I learned: try to run through pieces beforehand, warming up helps, the sound of a room can be surprising, movement in my peripheral vision distracts me, people notice mistakes less when I don’t draw attention to them, breathing always helps, smiling helps. Each time I’d ask myself the same questions: what went well – do that again; what went poorly – try something different next time.

    STEP 5: Over time, my comfort level increased and I built a repertoire of pieces that had now been road-tested. This gave me the confidence to begin volunteering to play in two local hospitals. Later on, I even started playing occasionally at a local restaurant. It turns out that I still get nervous and excited when I’m going to play, but I’ve started to look at it as as positive energy I can channel into playing. I’m always surprised by how encouraging folks are when you’re willing to make music for them.

    It turns out that it took well over a year to fulfill my resolution of getting more comfortable playing in front of people. Like all practice, though, as long as I’ve invested quality time, I’ve gotten better: not always a fast as I want, not always in the ways I’d expected. Because I’ve learned to have a sense of humor and not take myself too seriously, though, I’ve had a lot of fun along the way. It’s been a great adventure so far that I’d encourage you to consider too. If any of your goals this year involve a guitar, I’d like to invite you to OpenStage. As a listener, you’re guaranteed to hear some great music. As a performer, I guarantee an experience you can learn from!


    Please check out the OpenStage tab on the MGS website at www.mnguitar.org. We’ve updated the page with photos, links to online resources, and tips on what to expect at a typical OpenStage. As always you’ll also find our most current schedule and directions to OpenStage.

    2009-2010 OpenStage Schedule:

    Sunday, January 17th 2-4 pm
    Sunday, February 21st 2-4 pm
    Sunday, March 21st 2-4 pm
    Sunday, April 18th 2-4 pm
    Sunday, May 16th 2-4 pm

    Location:

    The Coffee Grounds
    1579 Hamline Ave N
    St Paul, MN 55108
    (651) 644-9959
    www.thecoffeegrounds.net

    [NOTE: I originally wrote this as an article for the Jan/Feb 2010 issue of the Minnesota Guitar Society newsletter. But I thought the ideas merited posting here as well.]

    Francisco Tarrega: Adelita

    December 1st, 2009

    Piece of the Month: November 2009
    Adelita by Francisco Tarrega

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    Here’s a piece to compliment Lagrima which I posted earlier this year.  Hope you enjoy.

    My Own Best Advice

    November 29th, 2009

    Last weekend I was writing an article for the local guitar society newsletter. Production schedules being what they are, I was writing for the January issue on the somewhat unsurprising topic of “New Year’s Resolutions”. The gist of my article was that important resolutions rarely get accomplished in one grand gesture, but rather in lots of little increments of trial and error, some setbacks, and many incremental successes. Here’s how I summarized the process:

    Each month, I’d notice something new about what happened when I was playing…Each time I’d ask myself the same questions: what went well – do that again; what went poorly – try something different next time.

    That same weekend, I played a small concert. Not a big or important event by anyone else’s standards, but significant to me. As people naturally do, folks asked afterwards how I felt the performance went. This is the part where I decide whether I’m going to actually live by my own advice. Do I answer that things went better in practice and I’m a little disappointed that the performance didn’t’ flow as smoothly as I’d hoped, OR do I answer that there were a couple moments that surpassed my expectations and this was probably one of my best performances ever.

    The challenge is that both of these answers are true and important. Over time, though, I’ve learned that one answer is private and one is public. The private answer is that things almost always go better for me in practice. I usually have more focus and achieve better musical flow without the anxiety of an audience and the tiny surprises that crop up in any performance. The private answer is that these are exactly the things I need to work on to improve for the next round.

    The first part of the question I’m supposed to ask myself, though, is “what went well”. This is part of the public answer. People were gracious enough to show up, give me an hour out of their days, and listen with focused attention. They came to enjoy a special, unique experience. My job as a performer is to provide that, not just through the notes I play, but by the environment I create through my demeanor, my attire, and my words before, during, and after the performance.

    So when someone asks how I felt about the performance, I search for something honest that I can share with them. In this case, here’s some of the things I noticed: the guitar sounded especially nice in the performance space, I was really pleased with how the second Tarrega piece went, I always really enjoy playing the Brouwer, I was energized by how focused and attentive the audience was. These answers help people to know that they shared in, and helped create, something that was very special for me. Something that I hope was special for them as well.

    For the longest time, I neglected to ask or answer, the “what went well” part of the question. I’ll definitely think about “what went poorly” and what could be improved as I practice over the next few weeks; I certainly expect to have a great conversation about this at my next lesson. For now, though, I’m working to carry forward the small successes and nourish them. They’re a tremendous source of encouragement and energy as I work through the details of all the things that need refinement and polish for next round.

    Stretches for Musicians

    November 7th, 2009

    This summer I attended a fantastic master class with Ben Verdery.  In addition to Ben’s boundless energy, there were lots of terrific performers, great music, and a very fun ensemble performance.  I also got one exceptionally handy little handout:  a copy of a little pamphlet titled Don’t cramp your style by the British Association for the Performing Arts Medicine.

    The pamphlet consists of 12 simple stretches to be used during practice and performance.  One of the key ideas is that musicians rely heavily upon their entire bodies; they should take the same care to warm up and prepare that any other athlete would.  In addition to improving my warm up routine, I’ve started trying to incorporate these easy stretches into periodic breaks I take during longer practice sessions.

    It would be fantastic to have this kind of organization in the US.  In the meantime the BAPAM has a number of other useful factsheets for performers on their website.  As they say, “Think of yourself as a performance athlete,” and treat your body accordingly.

    Leo Brouwer: Ojos Brujos

    October 31st, 2009

    Piece of the Month: October 2009
    Ojos Brujos by Leo Brouwer

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    I just played this piece at the Minnesota Guitar Society’s OpenStage.  October’s theme was spooky, scary, or eerie music.  I’m not sure this is any of these, but the title translates to “Witch’s Eyes”.  I hope some of the enchantment comes through in my playing.

    Brouwer based the music on the melody of a song by fellow Cuban composer, Gonzalo Roig:

    OJOS BRUJOS
    I´m mad keen to escape
    from some eyes I saw yesterday
    witch’s eyes [ojos brujos] which looking at me
    have wanted to fascinate me
    always fixed on me.

    That’s why when I look at them
    my emotion is so huge
    as if a sea made of sapphire
    snatched in a whisper
    my soul and my heart.

    (Translation from the website of the municipal choir of Caspe, Spain)