How Do We Think When We Play?

Craig A Davidson · From: Wisconsin Rapids, Wisconsin USA

When you players play do you think of what chord you are playing out of or what notes you are playing? Like does this structure fit this key, or can I use it elsewhere?

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1985 Emmons push-pull,Evans SE200

Ken Williams · From: Arkansas

Like many others, I worked in clubs for many years. Here are a few things I was thinking as I was playing.
"Either tune that guitar, or die!"
"Why do drummers constantly fiddle around playing rolls and stuff in between songs?"
"If I play Proud Mary one more time,I'll scream."
"Oh no, here comes that lady with the chains on the sides of her glasses. Why does she come to me everytime she wants to request a song? Okay, head and eyes down."
"Why did we spend 2 hours learning that song, and we never play it?"
Seriously, I think on E9th I'm more chord and pocket minded. I also try to listen to the singer to play what might fit with what they are singing at that instant.
On C6th, it seems that I do some of my best "off the cuff" playing when my mind void of chords, scales, etc. Of course, I'm always mindful of the key, but not necessarily every chord change. Not that I don't know the chords of the song, I just don't focus on them. I'm probably thinking more in terms phrasing and saying something with the notes. I know that probably sounds a little crazy. But, rarely am I able to capture this clear state of mind. For all those other times I guess I'm thinking of phrasing, while keeping the chord progression in the back of my mind.

Ken
http://home.ipa.net/~kenwill

Ray Montee · From: Portland, Oregon (deceased)

If it's a song I know, I can start visualizing within just a few moments. If it's an unfamiliar thing....I'm thinking about one measure ahead of what I'm playing.
If I hit a temporary obstruction, mentally, I might repeat the "riff" once again, like taking a breath, and then I continue on. Nursery rhymes also help to fill in the measures...whatever pops into your head. That's the fun of playing music.
A lot of folks sound like they're into strict
regimentation. I can seldom play a given song twice the same way, unless it is a specific arrangement; two or three way harmony stuff.

Winnie Winston · From: Tawa, Wellington, NZ * R.I.P.

For me, under it all is the key and the chords... "Ok... G... G.... C.... Am.....G.... etc. If I keep the chords in my head then I know where I am on the steel.
Other than that, I don't think about much-- just go on automatic and listen to what comes out.
As I said in my book, the best thing is when "IT plays" and you are just a vehicle for it happening. At those times, all normal time goes away and you become one with the music.
A great feeling, and once it happens, you'll be seeking it forever.

JW

Walter Stettner · From: Vienna, Austria

Sometimes I have found myself playing by instinct, especially when I sit in with other musicians I haven't played with before and if the song or the arrangement is not known. I usually listen to the song for the first verse and the chorus to learn the chord changes and then I'll try to bring myself in (carefully!).

A little story that happened to me a few years back: I was playing with different musicians one night and at the end of the gig we all gathered on stage to do the grand finale. What could we play? Somebody suggested "Will The Circle Be Unroken", everybody agreed, and this other guy on Dobro stated "In G?" and the lead singer answered "No, in D". The dobro player#s jaw was almost down at his toes (obviously G was the only chord he could play that song in!) nevertheless he was self confident enough to kick it off and played very dominantly throughout the song, his imagination always led him back to G, he missed every chord change possible, pure disaster. Somewhere in the middle of the song I took off my picks and leaned back, ´to make it clear to the audience that all those strange sound were not coming from my side of the stage!

Walter

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Tony Prior · From: Charlotte NC

Bandstand experience and auto-pilot..

Like most here, I don't really think about it..I play within the chord structure or melody ..Lately I have been working on playing very close to the melody lines..

But that being said..
Sometimes when an odd song is called, you gotta learn it fast..real fast..like within the first 24 bars..then they give you the first ride..

no turning back now...sometimes it's brilliant..and uh..sometimes it's not !

T

David L. Donald · From: Koh Samui Island, Thailand

The chord structure comes first.

But if, like in a jam with strangers, the structure isn't too clear,
single notes on your root string can get you out of trouble.
Slide until something comes into focus... but of course subtly. Make it musical not just random.

This is good if they have anounced the song is in G and then play it in E.

Donny Hinson · From: Glen Burnie, Md. U.S.A.

I'm always thinking chords, and I try to play a lot of chords in the melody line. Some players (with lotsa pedals) play almost everything as a single-note melody line.

Different strokes for different folks.

As far as what to play, play what sounds good to you. Then if someone else likes it, play it again!

Joey Ace · From: Hamilton, Ontario, Canada

For me it's Numbers.

From Winnie's example, I'd be thinking:
11 42 1...

If the song has a signature lick or intro, I'm thinking "I sure hope I remember it".

[This message was edited by Joey Ace on 18 December 2003 at 07:53 PM.]

Ray Minich · From: Bradford, Pa. Frozen Tundra

Well, once in a while, (actually sometimes often) it's "Oh my god, where the hell am I and how do I get back to where I belong and is it gonna be there when I get there?"

Emmons SD-10, Dekley S-10, NV400

D Schubert · From: Columbia, MO, USA

It goes something like this: Do I know this song? Can I play the melody, or fragments of it? If so, do. If not, must follow the chords and the mood. What harmonies to avoid? (ie, play 6ths or 7ths, but not both). And, while stringing notes or melody fragments or licks together, think of a direction that this solo is going to run -- from hi-to-low, from-lo-to hi, or some other pattern that doesn't just ramble. Try to end the ride with something that resolves nice and solid, and pass the baton back over to the singer...

Dave Van Allen · From: Souderton, PA , US , Earth

interior dialog: apologies to Ken Nordine:
(music in background- close mic'd dry voiceover)

Dave Van Allen · From: Souderton, PA , US , Earth

actually I think more along the lines of "how can I distress this quote of the melody to Nat Cole's "Mona Lisa" so it fits the chord progression I'm currently playing?"

Daniel Vorp · From: Burlington, NC USA

Winnie wrote: "As I said in my book, the best thing is when "IT plays" and you are just a vehicle for it happening. At those times, all normal time goes away and you become one with the music.
A great feeling, and once it happens, you'll be seeking it forever."

Winnie, I've not seen it described your way before but I know exactly what you are referring to. On many occasions I have zoned out and it's almost like I am outside myself observing myself playing. During those times, once I realize it is happening, I wonder who is playing the guitar because it is like the guitar is playing itself.

Does anyone know what that phenomenon is?

John Billings · From: Ohio, USA

On 6-string, everything I do is thought out. I think about every move a few beats ahead of time. It's written and practiced for weeks if possible. But on steel, it's a totally different thing. When I first started playing, my teacher said that after 3 or 4 lessons, that I was ready for a gig. Not a good gig, but a gig! He hooked me up with a "request" band. They must of had 2,000 songs on 3 by 5 cards, and me, being an ex rock & roller, didn't know any of them. It was like being thrown out of the boat to learn how to swim. And somehow, that changed me. I'm still the same, deliberate player on 6-string, but on steel, I just "zone-out." I do not understand it, but I love it!
JB

John De Maille · From: On a Mountain in Upstate Halcottsville, N.Y.

I think it depends on the song you're playing. If it's a fast tune with alot of notes to be played, playing some scales or staying close to a box framework works well.On slow ballards, I try to compliment the singer's phrasing, but, never overplaying so as to distract from the songs basis.Some nights I just don't give a #### and get everybody ticked at me.

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

I also think in numbers. I know the positions to get the chords I need and don't even think about it much. If it is a song I don't know, I think about the chord structure a lot. Actually, I am thinking of which exit door is closest when I butcher up the song.

Eric West · From: Portland, Oregon, USA, R.I.P.

I'll go with DVA's quote, and play a few nursery rhymes while I'm scoping the joint for freshly ordered french fries.

EJL

Winnie Winston · From: Tawa, Wellington, NZ * R.I.P.

Daniel said:

"Winnie, I've not seen it described your way before but I know exactly what you are referring to. On many occasions I have zoned out and it's almost like I am outside myself observing myself playing. During those times, once I realize it is happening, I wonder who is playing the guitar because it is like the guitar is playing itself.
"Does anyone know what that phenomenon is? "

****
As I understand it, it is the mind going into a meditative state (alpha/theta rather than beta). It is the place of "enlightenment." It is the place where the "higher self" is doing the playing and the earth consciousness is just watching.
It is a place where most folks who have experienced really want to go back to. Pure joy.
I spoke to a friend once who was very involved in meditation. He gave me the Indian name for it, which I forgot. It is reaching nirvana through work.
It doesn't happen to me as much on steel as it did on banjo. When I was with a bluegrass band and really going, I'd step up to the mike for a break, do it, back off and, for the life of me, couldn't remember if I did the break or not.
"zoned out" is one way to look at it.

JW

Larry Behm · From: Mt Angel, Or 97362

I think about tone and soul, would Buddy E or John H sound like this? For me it has nothing to do with what I play it is all about how I play. Peple are not moved by how much you play as they are by how you play. They do not know one lick or ride from another, but they can feel your passion if you play with expression. If you have my instructional videos I talk about this concept a little.

Larry Behm
call me lets talk
503-722-7562

Tim Bridges · From: Hoover, Alabama, USA

It's great to hear the different methods of mental playing. I for one have a long way to go on the PSG. But, recently I was laying down some tracks for a friend who had asked me to help finish a CD he had been working on for sometime. He's a great songwriter and musician. More importantly, a close friend (who is a music major to boot). I had practiced numerous hours preparing for the studio for the first three songs. Sooooo, I thought I was ready to get it right the first time...WRONG!!! I unrealistically had high expectations. The first go round on song one, "After All These Years", was so bad. I felt like the homeless puppy. What was obvious was that I was overplaying. My focus shifted to the vocals and how to phrase the licks to support the vocals; and emphasis on resolving the lick(s) accordingly. Things started to fall into place.

My question is, "why does it sound good to the player when your doing a live gig, even when you might be overplaying?". Is it because we want to play and hear ourselves play or what? I remember the old saying, less is more. So, I'm trying to play more tasteffully. If I overplay, I'll find myself becoming repititious. I guess there are licks we rely on too heavily and that leaves us in a comfort zone. Not a good place to be. So, the goal for me is to learn more and more licks.

I have been in that "zone" playing 6 string and the PSG. It is truely incredible. It opens up a creative part of my mind that apparently gets shut down during the normal course of the day (or life as we live it). My wife is a certified yoga instructor and insists that allowing yourself to calm and quiet, proper breathing for relaxation techniques, proper posture and entering a meditative state prior to playing (performing or practicing) enhances our creative mind. Now before you go off and say, "this is way out there" (my first impression), you should give it a try. It is possible to prepare yourself before you play. It isn't in conflict with your Christian faith (if you are so fortunate to be a Christian). It is actually better than a 6 pack or so of your favorite ale. You don't alter your abilities in a negative way. You will find that you can find that "zone" on a somewhat frequent basis. Cool!!! I had an instructor that was always telling me to relax, don't grip the bar so tight, your to tense, put some feeling in those pedal and KL pulls, back off the use of the volume pedals, etc. Great observations on his part. I would have never picked up on this aspect of my playing.

Merry Christmas to all! Relax and enjoy making a Joyful Noise!

Joerg Hennig · From: Bavaria, Germany

Topic: How Do We Think When We Play?

You mean yer supposed to...?

Really, I can´t describe it. I think in pictures or something like that. It´s like a world of it´s own but one I feel very much at home in.

Regards, Joe H.

James Morehead · From: Prague, Oklahoma, USA - R.I.P.

When I play, as a newbie on steel, I'm not worried about chord structure, I can feel a 2 chord or 6 minor coming on, ect. I really try to think about playing for the song, staying on pitch and not overplaying. Then as the lead player keeps hogging the lead rides after 20 songs, I start to fantasize, you know, like if I were to floor my volume pedal like a throttle to my Super Twin, could I actually blow his hair piece out into the audience like a frisbee? Or I think about if chicken wire in front of me, would actually help my confidence.

Chris Erbacher · From: Sausalito, California, USA

coincidentally, the place you guys are calling the zone is what the grateful dead phenomenon is all about. it was one of the roots of their experience and they set out each night to get there as a band and not just as one person. granted, they ate lots of illegal substances along the way, but when they got to the zone, you really noticed it in the crowd. this is partly the reason why people were willing to live out of their old vw busses. it's also the reason i play music today. one taste is all it takes.

Peter Siegel · From: Belmont, CA, USA

I think the question really is;
HOW DO WE PLAY WHEN WE THINK?

The best playing comes from another place entirely.
As Yoda said, "there is no try, there is only do."

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