
It’s a real easy thing to do with music, if you play that is. If you play in front of people. A hushed room, listening to every key change, every high tempo from the kick drum. Listening when the whole outfit stops playing and just sings Capella. Most everyone in the band knows their parts and if the sound engineer knows their stuff, the band knows what everyone else is doing at any one time. Applause if you do it right and stay in key. Play off key, just surround it with friendly melody and no one will ever know the mistake. 1,.
The problem begins when you have a ‘gig’ (music world for job to play) and are really not in the mood, tired and just beating yourself up about the gestalt of performance. It’s a huge step to exclusively change from playing every two bit bar within driving range, and change to playing for a worship group or band. After a short while, the change to Holy music from Holly music seems to be harder, much harder. Holy means touching eternity and it’s pretty good!
There is a fallback when you have to play and would rather not. You put your musical skills on the line and play in Georgia Overdrive. Put everything in neutral and just coast. It sounds good but you know it doesn’t sound like anything. Just making the moves. Waiting for a touch from the numinous Lord, waiting to hear ‘those’ notes.
As the joke goes, “it’s OK if you like music” It’s a subtle and yet extremely powerful touch or kiss that thrills musicians. Sometimes you can tell with an ensemble when someone transcends all the sharts and flaps and begins to really play or sing. Rhythm surprises were a favorite fallback for me. I was nicknamed ‘the rhythm monster’ by a square dance group I played with for years. The changed notes or rhythm,they catch attention and start an interest. It can be compared to a flicker of light at sunset in the clouds.
Focus on an unknown algorithm that begins the solving of the connection to the conductor of the music. You can feel Him listening and watching what the Holy music is saying to Him. His delight in the formula found to draw near is palpable.
It’s more than just performing for the Holy one, Jesus. It starts with performance at the outset. Akin to handling a blueprint and ‘playing’ with it. A musical intonation that isn’t too complicated but intriguing. A few fumbled chord changes and the groove is coming into focus. Do your part you hear, it’s just made for you to play.
Use the blueprint to get to the right foundation of the music building and ‘look around’ at the other musical carpenters. They are waiting for the moment too. Suddenly, unexpectedly, a harmonic sounds and two instruments play it together. Improvisation rather than notes on a page. Primitive and not very professional but fun. It’s easier to play jazz if you don’t worry about it. Just play what shows up in your spirit and be delighted when it gets picked up.
Noted gypsy guitar player a generation or so ago, Django Rheinhart was asked what key he wanted to play in. He responded. “Key? What is Key?” Gifted beyond comprehension when he played with Stephan Grapelli on violin. If you can get a vinyl recording of these sessions, hang on to it. It’s worth a bundle. Vinyl, it’s the closest thing to actually being there.
Play well and play with heart and spirit giving you the rhythm and scale of things., It’s pretty good.
Norm / Jack
1. With thanks to Bill Hinkley and Judy Larsen








