Some people have a gift, knack, or talent, call it what you will, for music. Not just music of course, as there are many skills to be considered but as we all know music is “where I live”.
I think it’s safe to say we’re all born with certain aptitudes or lack thereof and continue to develop or not develop those from early on. Science has shown we’re not really “empty vessels” but are born with certain innate characteristics. Talents are not so much like a light switch that’s either on or off. You can get none, some, or a lot. What we do with what we get is up to us. I think a lot of people (and I put myself in this category) manage to get just enough to get ourselves in trouble.
Why bring this up? As a working guitarist, I’m occasionally informed by non-musician acquaintances (and undoubtedly other musicians have this experience) about relatives and/or friends who can “play anything” meaning of course any instrument (i.e. “My uncle can play anything). These fountains of talent and giftitude can apparently pick up any musical instrument, be it piano, guitar, flugelhorn, violin or saxophone, with absolutely no previous experience or training, and draw from it limitless rivers of impressive repertoire. By all accounts they just “know” what to do without ever thinking about it. They’ve never spent any time practicing. They’ve never considered studying music theory. Why should they? They just have a gift.
Invariably these freaks of nature are never actually musicians. Why do I say this? I’ve been hanging around musicians for well over forty years and have performed in more different kinds of ensembles that I care to list, and have never met one of these prodigies that have never practiced. Now I’m not talking about musicians who are multi-instrumentalists who work hard at their craft(s) - no, no, no. These wonders of mankind have apparently never given their gifts a second thought nor paid for or attended one music lesson, and never spent an hour practicing, yet by all accounts they are absolutely terrific at playing any music on any instrument at professional levels.
These bits of information that are passed on to me, along with comments such as “you should check out so and so...he’s REALLY good” serve to point out to me things which I am not. Naturally gifted and “really” good. That’s okay with me. I know where I stand in the world. I’ve met, seen, and heard, and even a few times been on stage with real world class musicians. I never kid myself about what I can and can’t do. I tend to think of myself as just a guy who likes to play guitar...maybe a little too much.
That there are people in the world with more musical talent than myself is not news to me. The world is loaded full up with prodigies and talented people. Just a visit to a few local churches will show you that along with the ordinary folks there are a few who can really sing their butts off. They’re not musicians. They’re not tending and feeding and exploiting their talents. They’re not paying their dues in the music world or reaping the rewards. They just can sing well and enjoy doing that in church. I’m totally cool with that. More power to them and their ilk. Even I can say I’ve known two sisters, who even at a very young age of maybe 6 or 7 would sing duets that would knock you off your chair. Precocious as hell (neither went on to become a musician by the way).
What I want is for one of these mystery talents, who are some miraculous musical multi-instrumental prodigies that I’m not, to show themselves dammit. Where are you hiding? Reveal your awesome unstudied musical gifts to me!
And while your at it I’d like you stop by one of my gigs and bring forth your guitar, violin, and saxophone so that you may blow me away with how well you can improvise through the changes of “Cherokee”, “Ornithology”, and “All The Things You Are” without ever having studied or practiced even a single minute. Afterwards you can regale anyone within earshot with your rendition of “Giant Steps” or maybe dazzle listeners with a Paganini Caprice or two. All. Without. Ever. Practicing.
See you then...I’ll be waiting! I long for it. It’ll be a pleasure to meet you. And if you turn out to be some long lost uncle of mine - even better! Because I’d like to be one of those who can say “I’ve got an uncle who can play ANYTHING!”.
Tuesday, August 24, 2010
Tuesday, August 17, 2010
Art Is Like A Coin
...there are two sides, don’tcha know?
Let’s talk art as related to music and guitar playing because that’s my only comfort zone.
Let’s call one side of the coin technical and the other side expression. They’re entirely different yet infinitely adhered. Each unable to exist without the other, yet always at odds.
The technical side enables the expression side to express freely and the artistic side always needs to disregard the technical side. The artist requires two mindsets, one to build up technical ability (the practicing side of things) and another to forget about all that practicing and just play (the performing side of things). It's quite the dichotomy and all very, very human.
Performing is no fun when I’m willing things to happen on the guitar that don't come true because there's not enough practice time behind me. It's always a struggle to some degree, but as long as I can keep it on the positive side of things then overall it is fun. Sometimes my performances feel like one long struggle, and other times when every note I will into being materializes just the way I imagined. I guess that's art. You never really know what you're going to get. Just prepare as much as you can and roll the dice.
I sometimes tell my students it takes a dedicated artist to play beautifully - any schmuck can play aggressively. When we can achieve beauty we're mastering the instrument instead of the instrument mastering us. That allows a much broader range of expression.
Practice is practice and performance is performance. Let’s not get the two mixed up. It’s best when like a coin - one side can’t see what the other is doing but can exist in comfort knowing it’s there.
Let’s talk art as related to music and guitar playing because that’s my only comfort zone.
Let’s call one side of the coin technical and the other side expression. They’re entirely different yet infinitely adhered. Each unable to exist without the other, yet always at odds.
The technical side enables the expression side to express freely and the artistic side always needs to disregard the technical side. The artist requires two mindsets, one to build up technical ability (the practicing side of things) and another to forget about all that practicing and just play (the performing side of things). It's quite the dichotomy and all very, very human.
Performing is no fun when I’m willing things to happen on the guitar that don't come true because there's not enough practice time behind me. It's always a struggle to some degree, but as long as I can keep it on the positive side of things then overall it is fun. Sometimes my performances feel like one long struggle, and other times when every note I will into being materializes just the way I imagined. I guess that's art. You never really know what you're going to get. Just prepare as much as you can and roll the dice.
I sometimes tell my students it takes a dedicated artist to play beautifully - any schmuck can play aggressively. When we can achieve beauty we're mastering the instrument instead of the instrument mastering us. That allows a much broader range of expression.
Practice is practice and performance is performance. Let’s not get the two mixed up. It’s best when like a coin - one side can’t see what the other is doing but can exist in comfort knowing it’s there.
Friday, May 21, 2010
School Music Programs Are Important
Occasionally (okay...hardly ever) a student signs up to study guitar with me that is not only talented but is serious about pursuing guitar. Those that do, usually want what I have for them and if they don't we find out pretty quickly where we stand on that aspect.
Here's the catch. The serious guitar student wants to do something big with music so they attend university in an attempt to get some formal training. They're probably thinking something like "hey, I like music, I'll study music in college!". The trouble is, by that time, it's quite likely too late to get serious about a formal music education unless they've participated in some sort of school music program.
Usually, as it is with guitarists, they have no formal music background, are a social rebel, and have eschewed all manner of institutionalized music programs. Other instruments, or school music programs, even if available, or not cool enough for the average guitar toting adolescent. Yet when they get to be college-aged they often do a little self analysis and say - "hey - I better try to learn what's going on with this" or something to that affect.
Even if a child is lucky enough to study guitar at a young age with a qualified teacher, it doesn't take the place of traditional ensemble playing. They need to play or sing in some kind of formal ensemble as soon as they can.
Entering a university guitar program without any formal music training besides "I can learn off of recordings and tab and have played in bands with my friends" is setting a pretty high goal. After all, you're at a university. Would you hope to be a math major with no formal math schooling? How about English? It would take some pretty hefty intellectual gifts to accomplish a pre-med program with no prior science classes. For whatever reason, it hardly ever occurs to young guitarists that they should take choir, or play in marching band or orchestra. I'm not saying that it can't be done, but trying to get a handle on learning to read music on your instrument, not to mention writing and analyzing at a university level with no experience can't be quite challenging to put it mildly. Just because a student has some talent, doesn't mean they can do all that too. And that's what all the other university music students will be doing.
Just as with athletics, usually it's the students who have excelled at a particular subject or activity in high school, that go on to pursue that specialty at college. All the best high school students from their separate fields are working to make the grade at university. All of the outstanding award-winning high school athletes, musicians, and academics are surrounded by their award-winning peers.
So here's the important part. If you know a youngster that's interested in singing, or playing guitar, or piano - encourage them to participate in whatever formal music training and ensemble playing is available. If they can study guitar and/or play in a school ensemble, that's fantastic. If not, any musical ensemble is better than none. That way if they do decide to get serious about music later, they'll have a better chance at succeeding at a university level.
Here's the catch. The serious guitar student wants to do something big with music so they attend university in an attempt to get some formal training. They're probably thinking something like "hey, I like music, I'll study music in college!". The trouble is, by that time, it's quite likely too late to get serious about a formal music education unless they've participated in some sort of school music program.
Usually, as it is with guitarists, they have no formal music background, are a social rebel, and have eschewed all manner of institutionalized music programs. Other instruments, or school music programs, even if available, or not cool enough for the average guitar toting adolescent. Yet when they get to be college-aged they often do a little self analysis and say - "hey - I better try to learn what's going on with this" or something to that affect.
Even if a child is lucky enough to study guitar at a young age with a qualified teacher, it doesn't take the place of traditional ensemble playing. They need to play or sing in some kind of formal ensemble as soon as they can.
Entering a university guitar program without any formal music training besides "I can learn off of recordings and tab and have played in bands with my friends" is setting a pretty high goal. After all, you're at a university. Would you hope to be a math major with no formal math schooling? How about English? It would take some pretty hefty intellectual gifts to accomplish a pre-med program with no prior science classes. For whatever reason, it hardly ever occurs to young guitarists that they should take choir, or play in marching band or orchestra. I'm not saying that it can't be done, but trying to get a handle on learning to read music on your instrument, not to mention writing and analyzing at a university level with no experience can't be quite challenging to put it mildly. Just because a student has some talent, doesn't mean they can do all that too. And that's what all the other university music students will be doing.
Just as with athletics, usually it's the students who have excelled at a particular subject or activity in high school, that go on to pursue that specialty at college. All the best high school students from their separate fields are working to make the grade at university. All of the outstanding award-winning high school athletes, musicians, and academics are surrounded by their award-winning peers.
So here's the important part. If you know a youngster that's interested in singing, or playing guitar, or piano - encourage them to participate in whatever formal music training and ensemble playing is available. If they can study guitar and/or play in a school ensemble, that's fantastic. If not, any musical ensemble is better than none. That way if they do decide to get serious about music later, they'll have a better chance at succeeding at a university level.
Tuesday, March 23, 2010
Three Kinds of Gigs
It's important to know, as a performer, the difference between a restaurant, a bar, and a concert, and how to treat them when you're performing. Some people I've played with could never get some of that straight, or else they didn't care, and the result was pretty frustrating on my end.
To the uninitiated, it would seem simple: just play the song stupid. Nothing could actually be further from the truth and if you're missing out on that as a performer you'd be doing yourself a disservice.
Bar Gigs
True Confessions: When I was younger (mid 20's) and playing rock music in bars, I often made what I now believe to be a big mistake. I'd come out like gangbusters on the first three tunes like it was some kind of a concert (secretly I probably was just wishing it was a concert). I've seen others do this and in my decrepit old age I've learned the error of my ways. It's a bar gig - you've got three or four hours to play. Eight or nine o'clock in the evening is definitely not the same as 11:30. Bar audiences usually want to be eased into things instead of being hit over the head. And it doesn't necessarily mean playing different repertoire. Later on playing in a variety band, I learned how to play the same songs differently in different parts of the evening ("Brick House" can definitely be played with varying amounts of enthusiasm depending on the hour - yes, I've played "Brick House" a hundred times or what seems like it anyway). Also - if you can "read" your audience and play to them, it's a big help. This is something I'm terrible at. "Reading" one person that I know well is challenge for me, much a less an audience. Being in a band who can successfully play to a bar audience and whip it into a frenzy by altering song sequence and feel, I've always thought, is a lot of fun.
Concerts
Concerts on the other hand are a whole 'nother story. Usually you've got 45 minutes to an hour to do your thing and win over anyone who's there. Pacing and a finely honed set list are definitely in order in order to showcase your best stuff. Standing on a stage in front of a festival crowd is no place for a leader to turn around to the band and say "what do you guys want to do?" and yet, this has happened to me. It's amazing to me that a leader that could be so good at bar gigs and suck so bad at concerts but I've seen it and lived and it's not pretty folks.
Restaurants
Currently I have the pleasure of providing background music for a brunch crowd on Sundays at a fine local eatery. Many folks in the music biz call this a "wallpaper" gig. You're really just providing atmosphere for people to enjoy their food. They're definitely not there to hear me. They're there for the prime rib, oysters, etc. Surprise of surprises though - some of the restaurant crowd actually listens to what I'm playing. I know this for a fact. Really, no joke. They frequently walk up and say things like "What was the name of that tune? We've been trying to figure that out." That's how I know.
It's really kind of a funny gig - there's rarely if ever any applause. Occasionally someone will get drawn into the music and be inspired to clap but it's pretty rare. All in all I'd like to think that what I'm doing really adds value to their whole restaurant experience. As far as I know we're not chasing anyone off anyway.
In bars and restaurants, I think that the music is really an accompaniment to some other purpose (more so in restaurants, naturally). But if you ever get to play a concert or a recital where you are the only or the featured act you can be assured that whoever is there is there to see you. The pressure is on. So plan and rehearse to that end.
Keep on swingin'!
To the uninitiated, it would seem simple: just play the song stupid. Nothing could actually be further from the truth and if you're missing out on that as a performer you'd be doing yourself a disservice.
Bar Gigs
True Confessions: When I was younger (mid 20's) and playing rock music in bars, I often made what I now believe to be a big mistake. I'd come out like gangbusters on the first three tunes like it was some kind of a concert (secretly I probably was just wishing it was a concert). I've seen others do this and in my decrepit old age I've learned the error of my ways. It's a bar gig - you've got three or four hours to play. Eight or nine o'clock in the evening is definitely not the same as 11:30. Bar audiences usually want to be eased into things instead of being hit over the head. And it doesn't necessarily mean playing different repertoire. Later on playing in a variety band, I learned how to play the same songs differently in different parts of the evening ("Brick House" can definitely be played with varying amounts of enthusiasm depending on the hour - yes, I've played "Brick House" a hundred times or what seems like it anyway). Also - if you can "read" your audience and play to them, it's a big help. This is something I'm terrible at. "Reading" one person that I know well is challenge for me, much a less an audience. Being in a band who can successfully play to a bar audience and whip it into a frenzy by altering song sequence and feel, I've always thought, is a lot of fun.
Concerts
Concerts on the other hand are a whole 'nother story. Usually you've got 45 minutes to an hour to do your thing and win over anyone who's there. Pacing and a finely honed set list are definitely in order in order to showcase your best stuff. Standing on a stage in front of a festival crowd is no place for a leader to turn around to the band and say "what do you guys want to do?" and yet, this has happened to me. It's amazing to me that a leader that could be so good at bar gigs and suck so bad at concerts but I've seen it and lived and it's not pretty folks.
Restaurants
Currently I have the pleasure of providing background music for a brunch crowd on Sundays at a fine local eatery. Many folks in the music biz call this a "wallpaper" gig. You're really just providing atmosphere for people to enjoy their food. They're definitely not there to hear me. They're there for the prime rib, oysters, etc. Surprise of surprises though - some of the restaurant crowd actually listens to what I'm playing. I know this for a fact. Really, no joke. They frequently walk up and say things like "What was the name of that tune? We've been trying to figure that out." That's how I know.
It's really kind of a funny gig - there's rarely if ever any applause. Occasionally someone will get drawn into the music and be inspired to clap but it's pretty rare. All in all I'd like to think that what I'm doing really adds value to their whole restaurant experience. As far as I know we're not chasing anyone off anyway.
In bars and restaurants, I think that the music is really an accompaniment to some other purpose (more so in restaurants, naturally). But if you ever get to play a concert or a recital where you are the only or the featured act you can be assured that whoever is there is there to see you. The pressure is on. So plan and rehearse to that end.
Keep on swingin'!
Friday, March 5, 2010
Priming the Mind With Exposure - Part II (Where's my Chicken Feet?)
Where's my chicken feet?
Ever make that trip to Giant-Mart to get those oh so essential weekly essentials and go into a frustrated fit when you don't immediately find your regular brand of detergent, beans, or chicken feet, or whatever junk you normally put in your cart? In a matter of frantic moments you find your goods and all is right with the world.
One or more things may have happened. A) The Manufacturer changed the package, and/or B) Giant-Mart moved your cherished frozen tacos to the next freezer bin over. This is all designed to make you spend more time looking around in hopes that you'll see all the other cool stuff they have for you to buy. No matter how frustrating that is for you. After all, you have the mental image in your head, you know where it's supposed to be, just let me have my stuff you a-holes! In the course of all this you just may discover there really is more than one brand of macaroni and cheese. Hey...how 'bout that? You, my friend, have just been exposed and primed. Now you're an informed shopper ready to go and make a choice between something new and same old thing you'll likely buy anyway because you have no adventure in your soul.
Look Out!
So you can understand now that what you don't know can indeed hurt you. Very much. If you're not aware of the world around you, you'll be susceptible to every conniving thieving jerk out there. And...you can miss great opportunities just because you may not catch that critical word, or acronym, in someone's conversation that could make all the difference for you.
So...the more exposure you get, the more likely you won't be blindsided like the Pacific island natives. And you won't miss opportunities because you don't understand what someone is saying. If one of your cohorts is using specialized terms that you don't know, you're likely to slough those words off as being unimportant and disregard or ignore them all together. When you do know them you'll feel included.
In Conclusion
Most of what college classes are about is exposure. You learn little tidbits. Do a little bit with it and move on. Even when you specialize in biology or math or music or what have you, the object is to get exposure to knowledge that will hopefully open doors of opportunity and shield you from the great unknowns.
The broader your experiences - the more protections and opportunities you have. Educate yourself!
Ever make that trip to Giant-Mart to get those oh so essential weekly essentials and go into a frustrated fit when you don't immediately find your regular brand of detergent, beans, or chicken feet, or whatever junk you normally put in your cart? In a matter of frantic moments you find your goods and all is right with the world.
One or more things may have happened. A) The Manufacturer changed the package, and/or B) Giant-Mart moved your cherished frozen tacos to the next freezer bin over. This is all designed to make you spend more time looking around in hopes that you'll see all the other cool stuff they have for you to buy. No matter how frustrating that is for you. After all, you have the mental image in your head, you know where it's supposed to be, just let me have my stuff you a-holes! In the course of all this you just may discover there really is more than one brand of macaroni and cheese. Hey...how 'bout that? You, my friend, have just been exposed and primed. Now you're an informed shopper ready to go and make a choice between something new and same old thing you'll likely buy anyway because you have no adventure in your soul.
Look Out!
So you can understand now that what you don't know can indeed hurt you. Very much. If you're not aware of the world around you, you'll be susceptible to every conniving thieving jerk out there. And...you can miss great opportunities just because you may not catch that critical word, or acronym, in someone's conversation that could make all the difference for you.
So...the more exposure you get, the more likely you won't be blindsided like the Pacific island natives. And you won't miss opportunities because you don't understand what someone is saying. If one of your cohorts is using specialized terms that you don't know, you're likely to slough those words off as being unimportant and disregard or ignore them all together. When you do know them you'll feel included.
In Conclusion
Most of what college classes are about is exposure. You learn little tidbits. Do a little bit with it and move on. Even when you specialize in biology or math or music or what have you, the object is to get exposure to knowledge that will hopefully open doors of opportunity and shield you from the great unknowns.
The broader your experiences - the more protections and opportunities you have. Educate yourself!
Thursday, March 4, 2010
Priming The Mind With Exposure - Part I
Right off the top of my head I can think of three reasons why it is of benefit to go to college.
Exposure to knowledge
Focus of knowledge
Connections
The one I want to talk about today is exposure to knowledge.
As far as I can tell through my own observations, peoples minds have to be ready to see things in order for them to see them. They have to be "primed" so to speak. When I say see I mean that in a literal sense as well as a figurative sense.
Let me give you some examples of what I mean.
Vocabulary Lesson
Ever learn a new word and then see it popping up everywhere? You're likely to say to yourself something like "hmmm...that's funny, I just learned that word now I'm seeing it with great frequency. What a conicidence!". It's no great coincidence. It's been there all along - you just didn't see it! The reason is that you weren't "primed" for it. As adults we can do this "priming" with exposure and that's a lot of what education is about.
Find Your Shoes
If you've ever spent any time with very young kids (maybe 3 or 4 year olds) you may notice there's a tendency to be a problem with them keeping track of their shoes. Shoes do not seem to be very relevant to them. You may say "hey kid, go to your room, find your shoes and bring 'em here". They then saunter off to their room and perhaps return with the look of helplessness alluding to something like the shoes have somehow disappeared or they're not there. At that point it's up to you to go in that room and find those shoes, no matter how deeply buried they might be under piles of toys and clothes. You walk in and there they are. Right there. Right freakin' there. "How could this child be so blind?" you say.
The answer is that the child has to be "primed" to see the shoes. He or she has to have a mental image of what they're looking for in order to match that up with the real thing. For whatever reason, if the child is not carrying a mental image of what their shoes look like, due to apathy or what have you, the shoes are not going to be discovered.
Hey, how did you get here?
I've read somewhere that the natives of the Pacific islands never, in fact, saw Captain Cook coming. For them, it was more like one day he magically just showed up on the beach out of nowhere. Just like that. Poof. Magic. Literally. Well now it doesn't take a lot for us to imagine he showed up in some kind of big sailing ship. But what if you had never seen a sailing ship? Do you think you would see it? I got news for you - not necessarily.
Next time on Part II - Where's my chicken feet?
Exposure to knowledge
Focus of knowledge
Connections
The one I want to talk about today is exposure to knowledge.
As far as I can tell through my own observations, peoples minds have to be ready to see things in order for them to see them. They have to be "primed" so to speak. When I say see I mean that in a literal sense as well as a figurative sense.
Let me give you some examples of what I mean.
Vocabulary Lesson
Ever learn a new word and then see it popping up everywhere? You're likely to say to yourself something like "hmmm...that's funny, I just learned that word now I'm seeing it with great frequency. What a conicidence!". It's no great coincidence. It's been there all along - you just didn't see it! The reason is that you weren't "primed" for it. As adults we can do this "priming" with exposure and that's a lot of what education is about.
Find Your Shoes
If you've ever spent any time with very young kids (maybe 3 or 4 year olds) you may notice there's a tendency to be a problem with them keeping track of their shoes. Shoes do not seem to be very relevant to them. You may say "hey kid, go to your room, find your shoes and bring 'em here". They then saunter off to their room and perhaps return with the look of helplessness alluding to something like the shoes have somehow disappeared or they're not there. At that point it's up to you to go in that room and find those shoes, no matter how deeply buried they might be under piles of toys and clothes. You walk in and there they are. Right there. Right freakin' there. "How could this child be so blind?" you say.
The answer is that the child has to be "primed" to see the shoes. He or she has to have a mental image of what they're looking for in order to match that up with the real thing. For whatever reason, if the child is not carrying a mental image of what their shoes look like, due to apathy or what have you, the shoes are not going to be discovered.
Hey, how did you get here?
I've read somewhere that the natives of the Pacific islands never, in fact, saw Captain Cook coming. For them, it was more like one day he magically just showed up on the beach out of nowhere. Just like that. Poof. Magic. Literally. Well now it doesn't take a lot for us to imagine he showed up in some kind of big sailing ship. But what if you had never seen a sailing ship? Do you think you would see it? I got news for you - not necessarily.
Next time on Part II - Where's my chicken feet?
Monday, March 1, 2010
Set Lists
Ah, the set list. A musician's master plan. Architecture for a showcase of emotional waves. Outline of tension and resolution. A showcase of repertoire that we hope will become not so much of a run down of the known, but more of a catalyst for synergy and a path to something more magical, something more than the sum of it's parts. Even when it's not followed, it can become a lifesaving document.
Some folks don't even use them...who are those people anyway? Man, I've got to have it
The way it works for me is that sometimes I wind up pouring so much into the performance of a song, I don't really have much left over to contemplate what should happen next. It's best however, when the playing of one song suggests the next, and that's the best feeling. When the set list becomes more of a safety net than a master plan. Then we're riding on the coat tails of emotions and feelings, much like the improvisations included in a jazz arrangement.
Currently I'm trying to keep about a hundred tunes in my repertoire and I'm playing a steady restaurant gig once a week gig. When I started out with this gig I wasn't making set lists - I didn't want to work that hard. Then I started to notice how stressed out I was getting instead of having a nice time. Turns out the stress of deciding what songs to play was ruining the gig for me. It turned out to be much easier to plan ahead. Plus when I don't have one, I always find that I miss out on some songs I wish I would have played. This lead me to keeping track of what tunes out of my repertoire I perform each week. I'm occasionally surprised to see how many times I've played "I Can't Give You Anything But Love" or something like that over the course of a couple of months. Is there some deep meaning in that? I don't know about that, but I do know that keeping track of what's happening every week and having a planned set list makes for a more interesting and fun gig.
Set lists - you don't have to stick to 'em and it's great to have 'em.
Some folks don't even use them...who are those people anyway? Man, I've got to have it
The way it works for me is that sometimes I wind up pouring so much into the performance of a song, I don't really have much left over to contemplate what should happen next. It's best however, when the playing of one song suggests the next, and that's the best feeling. When the set list becomes more of a safety net than a master plan. Then we're riding on the coat tails of emotions and feelings, much like the improvisations included in a jazz arrangement.
Currently I'm trying to keep about a hundred tunes in my repertoire and I'm playing a steady restaurant gig once a week gig. When I started out with this gig I wasn't making set lists - I didn't want to work that hard. Then I started to notice how stressed out I was getting instead of having a nice time. Turns out the stress of deciding what songs to play was ruining the gig for me. It turned out to be much easier to plan ahead. Plus when I don't have one, I always find that I miss out on some songs I wish I would have played. This lead me to keeping track of what tunes out of my repertoire I perform each week. I'm occasionally surprised to see how many times I've played "I Can't Give You Anything But Love" or something like that over the course of a couple of months. Is there some deep meaning in that? I don't know about that, but I do know that keeping track of what's happening every week and having a planned set list makes for a more interesting and fun gig.
Set lists - you don't have to stick to 'em and it's great to have 'em.
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