The Vapour Station

Progressive Thinking Skills Workshop

2011-02-28T11:33:00.002Z

Over the next few months, I'm going to be sharing some of the main parts of the critical and progressive thinking skills workshops that I've been running.

If anyone who has participated in one of these workshops and wishes to make a contribution either in terms of content, or commentary, I would be most interested to hear from you.

The Quality of a Song When it's Stripped Bare

2011-02-19T13:19:00.003Z

It's long been discussed amongst musicians and theorists that the quality of a song shines through when it's stripped down to bare essentials (in this case just guitar and vocal), and here in it's full glory is one of the best examples of that I've ever heard:

"Melancholy Monday" by Proceed performed by Dan Lancaster

Inspiration this week

2011-01-22T18:49:00.004Z

One of the greatest!

Perfect Pitch

2011-01-12T23:01:00.004Z

The topic of Perfect Pitch surfaced again recently in some conversations I've been having about various music topics so I thought I would post this here. It's a reprint from a previous blog entry from the old vapour station page (from May 2008), but it's still relevant:

Perfect pitch is one of the most contentious and divided musical subjects. Where it’s no secret that I can pick out notes and name them, frequently I’m asked to demonstrate this skill and “prove it” far more than I’m asked how it works with a view to devising an approach which would serve to effectively develop it. There are courses available which can assist in the development of perfect pitch but frequently these courses are misunderstood as the “answer” to the perfect pitch “question”. Some people seem to want these courses to actually supply the skill of perfect pitch for them, and don’t often realise that these courses only actually provide means by which an end may be met. Often, these courses are criticised but in truth, there is nothing really “wrong” with any of them. They all point people in the direction that they want to go, but don’t always clearly explain that developing perfect pitch is no different from learning any other skill. Some people don’t have the patience or the discipline to dedicate sufficient time to the development of this skill, and cruelly interpret this situation as a matter of being “fooled”, and declare “These perfect pitch courses just don’t work”.

Where there a lot of quite amusing definitions of perfect pitch, like “the ability to hit a skip with a clarinet at 50 yards” (and other such variations), how perfect pitch has been defined (seriously) is a varied mixture of ideas. Essentially, perfect pitch is an ability which can be identified as “a level on which one perceives musical notes”, and I would go on to define perfect pitch as: “The ability to recognise and recall notes, independent of their relativity to other notes”.

This frequently leads to a lot of “What about this? What about that? What about melodic movement and relative pitch? What about recognising intervals and notes placed within chords? What about chord movement? What about notes on different instruments? What about notes in different registers? Etc although these questions are almost always regarding the context within which these notes appear. This introduces the idea of “levels” on which perfect pitch can work. As people begin to develop perfect pitch, they develop the ability to recognise notes in certain circumstances but not others. This is sometimes where people actually “stop listening”, and consider that they have gone as far as they can go with perfect pitch but the ability to recognise notes in almost all circumstances can be developed.

Developing Perfect Pitch

The underpinning principle on which perfect pitch works for me is that the notes actually sound different from each other. This is independent of their relative position to other notes. I believe that how these notes sound different from each other to me (whilst not a secret) wouldn’t actually be of any practical use for anyone who wishes to develop this skill, This is because throughout history, musicians who have had this skill have offered very different interpretations and descriptions of what they hear when they are recognising or recalling notes. Each person seems to develop this skill in their own way. To develop this skill, you will need to listen for these differences. Frequently at this point I’m asked: “What am I listening for?” (Not in the sense “Why are we listening?”, but in the sense “What, within this sound, am I trying to develop the ability to detect?”). At this stage I frequently make the analogy with sight. If you ask someone to look for something, they may ask “What am I looking for?”, but even if you don’t know what you’re looking for, it doesn’t compromise your ability to see it when it appears. For now, this analogy with sight is the best expression of “the way in which you have to listen to develop perfect pitch” that I can find.

Where perfect pitch can be developed, some people who have not developed this skill within a timeframe that they have set for themselves will often take a very strange view of perfect pitch, and will criticise those who don't share it. This is one reason I avoid talking about it so much. I frequently ask; “how long did it take you to learn a few simple chords?” However long that may have been, I usually find out that they wanted to develop the entire skill of perfect pitch in less time! Realistically, that’s just not going to happen.

New Year: Old Wisdom

2010-12-28T15:09:00.002Z

I posted this on the CGPW blog, but felt it was general enough to post here too!

As the end of another year draws closer once more, I've found myself in a somewhat familiar annual position of organisation, planning, and making all my usual lists of goals for the year to come, reflecting on what I've learned, and continually returning to time tested wisdom which I tend to look to often when it comes to making plans. I mention this because it's only really time tested wisdom (together with experience) that can authoritatively guide the decision making process. Time tested wisdom is such a valuable resource when it comes to making plans that I don't make any plans without carefully considering it. I might set all my eccentric and fearless goals with uninhibited ambition, but the strategies and planning that I devise in order that I may reach these goals are always guided by a more reliable and dependable resource of wisdom.

I've tried to accumulate quite a bit of what I've learned into the following, but as it stands I would wish it to be considered unfinished. This is because I strongly believe that everything can be improved, and that while this is my own (current) thoughts, I believe that they ought to be considered from an individuals point of view, and then modified to include and incorporate thoughts and feelings from their own experience. This makes time tested wisdom more personal and relevant which is at the core of the Contemporary Guitar Performance Workshop philosophy:

Time and money are two things that we only get to spend once. With an unlimited supply of each, we could achieve anything with sufficient, focussed work. Without an unlimited supply of each, we must work smarter rather than harder, and remember that success is born of the level on which we think, not the level on which we work. We must act, and then we must watch and listen, thinking carefully about what we see and hear. We must continually assess the outcome of our actions and react and adapt to the results of our continual assessment. From here we empower ourselves to succeed. From here we are no longer guessing what may work. By ensuring that our decisions are guided by our experiences, we may remain focussed on targets, reassured that with each guided decision that we make, we are drawing closer to our desired outcome, aware of where we have been before, never to be condemned to repeat the same mistakes, for there is only one "true" mistake, and this is to fail to learn from a mistake.

New TDF gig dates

2010-11-24T08:16:00.003Z

NOV25
Bakers Vaults
Stockport, Northwest, UNITED KINGDOM
DEC15
The Snooty Fox
Wakefield, Northeast, UNITED KINGDOM
DEC16
Club Victoria
Carlisle, Northwest, UNITED KINGDOM
DEC17
THE ROADHOUSE BIRMINGHAM
BIRMINGHAM, Midlands, UNITED KINGDOM
DEC19
Dove and Rainbow
Sheffield, S Yorks, UNITED KINGDOM

The very fine band that is "Proceed"

2010-11-03T12:51:00.003Z

Currently listening to some uber modern post-rock/contemporary progressive, commercial muso fusion!

My kind of stuff....

and I love these guys!!! Fine company to spend an evening in!

TDF last few gigs in small venues this year

2010-10-04T09:10:00.003+01:00

If anyone want's to catch TDF play some small venues, now is the time!

Last few this year are happening soon. Next gig:

Copperface Jacks, Manchester, October 15th.

Ensemble Craft tracks now on youtube

2010-08-16T19:44:00.005+01:00

They're not videos as such, they are just the audio, together with the album cover, but 3 Ensemble Craft tunes are now on youtube:

Minstrel Party

The Legacy of Philbert the Frog

Tiddlywinks

Contemporary Guitar Performance Workshop and Ensemble Craft facebook pages

2010-08-15T12:39:00.008+01:00

Facebook seems to be taking over the internet at the moment and since I can hardly complain as I'm on it a lot, I felt that I should probably have my projects better represented there too:

Contemporary Guitar Performance Workshop:

http://www.facebook.com/group.php?gid=105356476188725&ref=mf

Ensemble Craft:

http://www.facebook.com/group.php?gid=140240376015246&ref=mf

Turquoise Noise page/group on it's way....

Latest 'This Devastated Fan' tour dates

2010-08-12T09:58:00.003+01:00

Wigan/Manchester dates:

13 Aug:
The Boulevard, Wigan

21 Aug:
Satans Hollow, Manchester

South Wales / North Devon dates:

22 Sep:
BRFM TV/Radio (97.3 FM in South Wales, or online at www.brfm.co.uk)

23 Sep:
The Duke, Neath

24 Sep:
The Patriot, Crumlin

25 Sep:
The Crown, Lynton

26 Sep 2010:
Hog & Hotspur, Pontypool, Gwent

London date:

27 Sep 2010 20:00
The Purple Turtle, Camden, London

Were also trying to get as many people to join our myspace and facebook pages which can be found here:

http://www.myspace.com/thisdevastatedfan

http://www.facebook.com/pages/This-D...8881733?ref=ts

Any and all interest, myspace/facebook page joining etc much appreciated!!

Political Pre-Determination

2010-04-25T08:23:00.008+01:00

As I'm based in the UK, we're building up to a general election at the moment and the respective campaigns to build support for each of the three main parties is evident everywhere. For the first time, there has also been televised debates between the three main party leaders with no scripts or preparation, and no advance knowledge of questions that they are likely to be asked. All interesting stuff and a good step forward in my view so people can see how two potential new prime ministers (in debate with the current prime minister) handle questions on important issues under the pressure of live televised coverage.

Unfortunately, one of the most interesting although simultaneously one of the most paradoxical and destructive aspects of peoples behaviour which comes out at these times is their thorough reluctance to listen and potentially change their views. People seem to have an admiration for democracy which is totally at odds with the fact that they will spend their whole lives voting for the same thing no matter what! I don't know whether or not I listen to too much and read a lot about what parties say they will do and vote on those ideas (influenced as ever by how much I believe them), but not very many people seem to do this and where not very many people seem to do this, where is true democracy? I have voted for different political parties at different times based on what they have said and how much I have felt they would make the most positive contribution and difference, but where people vote 'habitually', where is the real "choice of the people" where they have no real idea what they are voting for and it's all boiled down to colours and labels? Where a large portion of the vote is based on nothing but habit, I have a fear that the proper virtues of policy and character being criteria for voting are in grave danger of being tragically lost, and once they are gone, they are very, very difficult to get back.

Guitar & Bass magazine this Month

2010-04-22T16:54:00.005+01:00

I'm in guitar and bass magazine this month!

While at the Newcastle Guitar Show with Mr Rich Atkin (of Stormshadow guitars and Fryette amps), I was playing his unbelievable "Eat 'em and smile" David Lee Roth guitar with possibly the best paint finish I've ever seen on a guitar. So good in fact, that the guys from Guitar and Bass Magazine considered it worthy of taking a photo! It's part of an article on the Northern Guitar Shows which I'm usually involved with in one capacity or another, playing and demonstrating stuff. It's a great photo of the guitar though. If anyone is interested in high quality paint finishes on a guitar, Rich Atkin's DLR guitar is the standard by which others can be measured.

Heroes and Influences: Rob Dainton

2010-02-20T10:00:00.013Z

I’ve been assembling my thoughts and ideas about inspiration and the music I find myself attracted to, together with the people who create and facilitate it. I’ve been exploring all the usual heroes and influences, but at one point in considering this list, I came across a truly immeasurable, inspirational man, who didn’t fit any category, or who could even be considered in any way comparable to anyone else. Where better to begin an exploration of your heroes and influences than with this man?

Rob Dainton is an exceptional musician, a true gentleman, and someone I’m proud to call a friend. I don’t see him anywhere near enough these days, but at one time I played guitar in a band with him, and it was one of the hardest working and serious bands I’ve ever been involved with. Where heroes and inspirational people are not normally considered to be amongst people who we consider our friends, Rob qualifies as one of these people for a number of important reasons.

Rob plays the drums as if he was conducting an orchestra and the drums are actually just in the way! I’ve seen and heard him get some sounds out of a drum kit that are astonishing. He is resourceful enough to successfully convert almost anything into a useable tool that he can assimilate into his drum kit (so long as it makes the sound he requires), I’ve watched in amazement as he’s used these improvised instruments, breathe on cymbals to create the effect he wants, using sticks, brushes, small rocks, cloth, anything! The man is a bottomless well of ideas, packaged into moments of freely improvised genius. Spiritually absorbed in what he plays to the extent that he is absolutely immersed in a state of ‘contribution’, his drum stool is his church. He is one of the most (if not, the most) resourceful, sensitive, creative, and expressive musicians I have ever known.

Beyond his incredible musical skills, I found him to be an inspirational man in as much as his drive and unshakable focus on the direction he wants to take his music are absolutely formidable. Although how else can such an individual carve their way in the world? As the expression suggests “To be different in this world requires great strength. Let a budgie fly out into the open and the sparrows kill it”. He is a man of immense strength, vision, and resolve.

If you ever want to go and see something beyond any gig you will have seen before, or want to see a totally uncompromised performance of absorbed and passionate genius, look up where Rob Dainton may be playing next, and check out the gig.

This Devastated Fan

2010-02-02T16:38:00.013Z

Occasionally, some interesting things happen to musicians, and what happened to me one very recent evening was very much an embodiment of "interesting" and at the same time, a fantastic request from some very good people...

Some years ago, I had the pleasure of teaching a young man named Robbie Cavanagh how to play the guitar. He still calls me for an occasional lesson even now, regardless of the fact that he's currently the frontman, main songwriter, and guitarist for the band 'This Devastated Fan' who are about to embark on a UK tour, and working towards their 3rd album! Robbie developed an astounding skill as a songwriter, and has crafted some music which I find absolutely stunning. Predictably, the band have gathered themselves a strong following, and look well set to develop this further as they play more gigs and take their music to new places as Robbie continues to develop his songwriting skills, and share his work with growing appreciative audiences.

From their beginnings in 2005/6, This Devastated Fan have released two albums, played countless gigs, toured in Europe, and undergone a couple of line-up changes which have all made for an interesting and colourful journey. In recent times, I've met up with them regularly and as they asked for my opinion on different aspects of what they were doing, I offered whatever advice I had to give them about being in a band, let them know about the mistakes I made, and the pitfalls I fell into when I was in a working band which toured.

So what really interesting thing happened one very recent evening?

I went to meet the band, was asked to bring an instrument with me to 'jam', and I was asked: "Would I join them onstage and play with them for their upcoming tour?"

What a question!

I've never gigged with one of my ex-students before. I've played with a few of my old teachers, but never played with one of my students. I guess that as time presses on hard, this was going to be something which may have happened "one day in the future". but I didn't predict that it would be now, and This Devastated Fan!

With virtually no hesitation, I said yes.

I haven't really been out and played like this for a long time because I've been focussed very much on teaching, so to say I'm looking forward to going out and playing live with TDF is an understatement! To anyone who wants a very, very good night out with a top band in the last week of February and the first week in March, you won't go far wrong checking out This Devastated Fan in any of the following venues on the following dates:

26 Feb 2010