Kenny Harrison | Ruminations on Six Strings
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Summer Leaves

The Seekers

Posted on May 12, 2013

Whether it’s a day hike in the Willamette National Forest, a two-week vacation in the Scottish Highlands, or a month-long trek through the Australian Outback, one is bound to take notice of the quality of sights, sounds, tastes, tactility, and scents along the journey. A farmer’s morning market on a spring day; the hands shaping a sand castle on the beach; a decent pour of Guinness at the neighborhood pub; the well-tempered strokes of a steam engine on a flat stretch of railroad; or the blue planet spied from a port window on the International Space Station presents the senses with a cornucopia of accentuated stimuli, inviting the mind and heart to respond by attaching emotion to context.

I’m nine months into my musical journey, but I haven’t left town. However, I do feel like I’ve been to places, places that may be categorized as different states of mind or metaphysical in nature instead of actual physical locales. If a lens is to a camera as a brush is to a blank canvas, then my view of the world is seen through music. Music to me encapsulates the tribulations and ecstasy of humanity in patterns of rhythm, harmony, and melodic tones for an auditory experience that’s capable of manipulating emotion and invoking latent memories lodged in dark corners of the mind. The light I seek is not to be seen at the end of the tunnel. The wisdom I accumulate along my musical journey is not acquired by spontaneous epiphanies. Likewise, my lingering doubts of humanity’s evolution is invariably debunked when strangers extend offers of unconditional help during times of chaos and tragedy. However, that restored faith in humanity’s plight is a short-lived experience that is soon forgotten as strangers return to their respective worlds and life goes on as if nothing had happened at all.

Perhaps there is no enlightenment to begotten and life as we know it is a cosmic ant farm, where entities beyond our comfort zone amuse themselves by manipulating humanity like a computer simulation. It ultimately doesn’t matter: if we feel hate and love, things must therefore be real. As long as we’re here and we feel that we’re in the here and now, we should make the best use of the present situation. To do nothing but speculate what is and what is not is to acknowledge that some cosmic game is afoot and we’re the pieces on the board. Cosmic game or not, at the end of the day we must confront the realities of putting food in our bellies and covering our heads and those of our loved ones with a roof.

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Categories: Writing

Tagged: Ruminations

Two chairs on beach

Dad and Hank

Posted on April 20, 2013

Like that rattled old clock hanging over the piano
My heart skips a beat when I think of you not here
The sum of what was once you sits inside an oak urn
But I know somewhere you’re listening to my music
Music connects me with you since you’ve been gone
I do what I do because you shared Hank’s old vinyls
Tell me you found him and the PBR is pouring cold
If you run into Miss Cline tell her for me she’s hot
Keep a watchful eye over me as I tame these guitars
For you’re my muse now dad and I thank you for that

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Categories: Song Writing

Tagged: Lyrics

Stop Sign along a Path

Persistence: A Stubborn Attitude

Posted on January 22, 2013

I played violin and studied music as a young boy, and last year began practicing guitar and resuming my studies in music a month short of my 57th birthday. It is from that perspective from which I ruminate and chronicle my musical journey. Thoughts, feelings, and ideas meander without purpose unless they are committed to some form of expression. I consider myself lucky that I have two creative outlets from which my intellectual and emotional energy flows, namely music and writing. Words alone are not enough to express the depths at which my most inward-looking meditations pant for unfettered release into the wilds of humanity. To harbor a feeling of profound uncertainty without the means for its release is a lonely place to call existence. When the tension gradually intensifies from the opening attack, the feverish pace of melodic pitches eventually capitulates or goes unanswered until another phrase reveals an undisclosed passage for its etheric release to receptive spirits who huddle around me as I stoke the fire that burns within my mind. That is precisely why, at this late stage in my life, I persist and look forward to my practice sessions; it is all that truly matters to me.

What I have now I didn’t possess as a young man in his early twenties, and that’s persistence clothed as a stubborn old man. Arthritis is an evil nemesis that slowly robs what my hands can do, but I have excellent hearing, a lot of heart, and a truck load of stubborn attitude. As mentioned on occasion, I find shaping and switching chords physically difficult, frustrating, and discouraging. I don’t recall having any such issues playing violin as a young lad, but then my fingers were way more flexible and cooperative back in the day. However discouraging my ability is to finger and gracefully switch between chords, improvement is detected and acknowledged by my music sensei, and just when I need it, he offers encouragement and anecdotal stories that I otherwise wouldn’t receive if I was learning guitar on my own.

It’s generally accepted that it takes time in the neighborhood of 10,000 hours or ten years for a willingly dedicated person with sufficient aptitude to develop expertise in a given discipline, such as acquiring proficiency in playing a musical instrument. I subscribe to the belief that it’s never too late to learn something new and, motivated by pure passion, perhaps become an expert in a discipline later in life. I remind myself to not dwell on the 10K hour milestone because it distracts from experiencing the emotion and sounds of my musical journey, and making the journey is more meaningful than the ultimate destination. My passion lies in the ability to express myself musically, and that’s a concise description of my ultimate musical goal. Whether composing, writing a song, or playing music from a fake book, my intent is to do so with emotional and expressive faculty.

Though I have a musical background which does influence the way I approach my guitar practice and music studies, I do need to be practical and acknowledge that acquiring new knowledge is best done in small, incremental steps as an older adult. I tend to be hard on myself for not being able to master chords overnight, but then I have to admit that I don’t have such issues with sight reading and playing melodic instrumentals. Since that’s the case, I emphasize chords and rhythm in my practice routines. I practice what is difficult for me. Someday, maybe later this year or the next, I’ll realize that my stubborn attitude paid off and the chords I’ve been practicing for all these months sound clean and good to the ear. At the end of the day, my persistence is just another way of saying, “I’m stubborn and I ain’t giving up.”

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Categories: Music Life, Musicianship, Practice

Tagged: Chords, Practice Summary, Ruminations

In Search of Tone: Part I

Posted on December 21, 2012

Tone is the Holy Grail of every guitarist, and I’m discovering that finding your own unique sound, voice, or tone is a right of passage for the guitarist. Acoustic or electric, every guitar exhibits a natural tone. Construction technique and materials contribute to the natural tone of the instrument, its timbre, its ability to resonate and create foreplay in the ear. In my youth I remember my music teacher praising the timbre of my violin, and forty-five years later I finally understand what she had meant.

After a year of research and study, I came to appreciate the timbre of semi-hollow body electric guitars and found a Gibson CS-356 waiting for me in Louisville, Colorado. I’ll save the details of that adventure for another day, but I mention it now because that’s when the search for tone began for me, with the instrument itself, played through a clean amp to appraise its natural tone and sonic beauty. If my ears could detach themselves from my head, they’d be dancing in the air.

When I began my guitar lessons and music studies last August, I quickly forgot all about tone as I immersed myself into a daily, regimented practice routine. In the studio of my music sensei I’d plug my guitar into an Evans Custom Amplifiers jazz amp and at home I’d plug into a Mac via an Apogee Jam interface, using the cleanest amp model available in Apple’s GarageBand. Clean tone from an amp carrying the natural timbre of my guitar was all I wanted to hear. Then one day last October I decided having to boot a computer, launch a program, and load an amp model was becoming a major annoyance. The Mac-JAM-GarageBand combo is popular and works for many guitar players, but I was craving a combo amp for my guitar practice. The more I played through the Evans, the more I appreciated its ability to push out very clean tone. I gave VOX, Marshall, Fender, and Line 6 several days of serious consideration, but I kept coming back to the Evans, after all that’s what I was playing through in the studio.

Life was good, guitar practice was great, and my new Evans amp highlighted all my mistakes, but my setup was simple and straightforward: turn on amp, sling guitar over my shoulder, sit, tune, and play. No computer required. Oh, the joy of truly clean tone, as such it was until I began to explore and experiment with the reverb, flange, chorus, depth, body, and expand controls. I soon realized that tweaking an amp for tone can easily suck up hour after hour. In a few weeks I was addicted to tone.

I hid my addiction from my music sensei, but the master noticed nonetheless that I was on a quest for the Holy Grail of tone, looking for my next score and how to get it. Like any tone junkie, I listened to my guitar heroes and researched what was in their guitar chain that produced the tone that kidnapped my ears and emotion. Pedals, effects and multi-effects processors filled the landscape of my browser as I researched what I had thought I needed to give me more options for tone. Fortunately, I came to my senses and determined a Xotic RC Booster is a good start in my quest for the Holy Grail of guitar tone.

What the Xotic RC Booster did for me was boost my guitar signal by 20db so that it would excite my amp at low volumes, i.e., give me a wee bit of dirt without blowing out my ear drums or the windows. Kissing the strings while strumming chords and light picking produced crystal clear tone while slightly, more aggressive strumming and picking produced just a tad amount of distortion and breakup. Nice, very nice indeed, I thought, for I had found a tone that I could live with.

However, a few weeks ago I got home sick for Santa Cruz, California, my home town back in the day when muscle cars, beach girls, and surf guitar populated the realm of my existence. Ah, surf tone, now there’s a tone if there ever was one worthy of a quest, so I’ll leave you with the legend of surf guitar, Dick Dale, the man who created the surf genre. Yes, my quest for tone continues. Merry Christmas and Happy Holidays.


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Categories: Music Life, Tech, Tone

Tagged: Guitar Stories

2 Comments

Fall Leaves

Looking Back: 4th Month

Posted on December 1, 2012

Adapting to additional practice strategies and fine tuning my deliberate practice regime intensified during my fourth month of lessons and life as a disciple of the guitar. I was quite confident that I would hit the milestone of four hours of daily practice by January 2013. I had only one exception to my self-imposed rule, that I would only practice two hours (split between two sessions) on my weekly lesson day. Taking an entire whole day off from practice was a thought that petrified me, so I remained faithful to daily, regimented practice. What if I got sick, I pondered. If I could make it to the bathroom, then surely I could pickup my guitar and practice in ten-minute chunks while convalescing.

After a few hours of mulling ideas around in my head, I formulated version 2.0 of my deliberate practice regime. The Core Practice set mainly involved newly assigned material and a collection of scales and chords frequently used in blues and jazz. I also made sure that the songs that made up my repertoire of previously covered music would receive enough attention to maintain an expected level of performance and competency. Use it or lose it, is the operative phrase to describe why it’s important to not let what you have learned be forgotten. When the size of the repertoire increases, so does the practice time. A quick review of my practice logs revealed that I got my best practice performance in 30 to 45 minute chunks, separated by 30 minutes of other music-related activities, such as updating my journal, blog, listening to a song with the intent of deconstructing it’s structure, or identifying specific goals for the next few sessions.

Core Practice: 90 minutes divided into two or three sessions.

  1. New material
  2. Scales
  3. Chords
  4. Repertoire of songs

The purpose of establishing targeted practice goals is to achieve a specific outcome. Perhaps I have performance issues with new material that need intense, focused practice; experimenting (improvising) with known scales and chords would be a great time to apply music theory concepts; or I may want to get creative with adding embellishments to a known song. The effort expended is all about maximizing my practice time and being proactive when it came to setting training goals.

Targeted Practice Goals: 90 minutes divided into two or three sessions.

  1. Dynamic and TBD prior to a specific practice session

Aside from instrument practice, I had allocated four hours per week to general music studies as a holistic campaign to achieve better instrument performance; to increase my knowledge base of scales and chord construction; to add artistic creativity to arranging and playing music; and to pour the foundation needed for songwriting. Like any reputable coach would do, my music sensei played an advisory role in these specific areas by observing how my performance levels were advancing, or in some cases were declining. The knowledge I acquired in these areas significantly influenced the way I would approach my practice, more like the way of a Zen monk and less like a technician.

General Music Training: 4 hours per week.

  1. Music theory
  2. Sight reading
  3. Ear training
  4. Active listening

Somewhere in mid month I experienced my first inkling of what it was like to be a musician, whereby the time and effort I was devoting to music was illuminating the Way. The immersion process of learning was transforming my life from a retired IT grunt to a musician in training. Music invaded all aspects of my life: sleep, dreams, food, philosophy, and behavior. Wait, behavior? Yes, I got reacquainted with the boy inside me that I had left behind 45 years ago, lost interest in frivolous activities (like getting my hair cut), and viewed my guitar as a friend and a faithful companion.

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Categories: Musicianship, Practice, Proficiency

Tagged: Deliberate Practice, Practice Regimes, Practice Summary

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Anderson Atom CT Musings and stories culled from making a musical journey in the second half of life.

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  • The Seekers
  • Dad and Hank
  • Persistence: A Stubborn Attitude
  • In Search of Tone: Part I
  • Looking Back: 4th Month

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