When you make your music, who do you do it for?

Is it for your audience–a selfless gift of sharing your art with others who can derive nourishment from the expression that springs forth from your soul?

Is it for yourself–an act of relief, giving form to the whims of your imagination and reveling in the fun of the creative process?

For many, the question of who the the music is being made for opens up what may seem like a competition between selfishness and generosity. The issue can grow even more complex when you factor in making a profit from your art.

On the one hand, we are taught that it is better to give than to receive. At the same time, there seems to be an undeniable part of our nature that is self-focused, self-centered, and self-interested.

So is it one or the other? Are we to chose between modeling Mother Theresa or Gene Simmons?

Listen to this podcast as several solutions are provided for achieving greater balance between selfishness and compassion in the life of the professional artist.

This part 5 of the 5-part “Prosperous Musician” series of SOS podcasts.

 

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What’s your story and how do you tell it?

Are you a provocateur? An abstract, evocative storyteller? A painter of fables? An abstract teller of tales? All (or none) of the above?

When music and lyrics are understood in dramatic terms, rather than in purely musical terms, the process of songwriting becomes less about verses, choruses, lines, or hooks and more about characters, actions, scenes, and narration. A switch of context like this can help you bring some fresh material to the table and enliven your music in some interesting ways.

Listen to this special SOS episode (recorded on the road in rural Massachusetts) for a glimpse into JP’s understanding of the relationship between music and drama. Apply the concepts to your own writing and the results might surprise and delight you!

 

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Are you inspired? If so, how did you get that way? If not, what do you imagine would inspire you? The word inspiration, like the word spirit and respiration, has its origins in the Latin word for breath. But the concept of inspiration has come to suggest much more than simply breathing.

Feeling inspired often implies some kind of altered state of consciousness in which all the clouds part and the heavens open up.Artists have used countless methods to get themselves inspired (and many have worked), but the promise of inspiration often comes with a catch. What might inspire at one point –a place, a person, an experience, a journey–might eventually lose its luster and lead to less than inspiring results. Increasing your ability to observe, on the other hand, never ceases to deliver valuable experiences. Observation, unlike inspiration, is available in every moment, regardless of mood, circumstances, or state of mind.While many artists have moments of intense inspiration, artists who sustain their creative edge usually end up relying on the power of perception to deliver new insights and material, rather than emotion or imagination.

So don’t get high, don’t get low, don’t go up and don’t get down, just be where you are and listen, look around, and let the moment bring your next song. Listen to this Soul of Songwriting episode to hear about various ways that you can use your gifts of observation to bring forth an abundant stream of good material and relinquish any unconscious expectations for finding inspiration somewhere or sometime other than “hear and now.”

 

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Are there any areas in your life where you experience an abundance of frustration? 

If not, you might want to skip this podcast. If so, go ahead, take a listen, and get ready to tap into your frustration as fertile source of good material for your next song or composition. Six distinct strategies for turning your difficult emotions into sweet musical ideas are explored and analysed. 

JP not only discusses, but also sits in on the piano to play around with some examples that range from Beethoven to Americana.

 

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Something really big and really important happened to popular songwriting between the years of 1950 and 1969. Many things, actually. And we are still reeling–socially, creatively, psychologically, and politically. Come take a journey back in time and then forward and back again as we mine the fields of recent history looking for musical gems and touchstones that can be put into immediate use in our songs, performances, and understanding of what we hear. This is part one of a two part conversation.

 

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