My parents were not very musical. My mother claims to have had piano lesson as a child, but it doesn’t show. Neither of them can carry a tune. They torture me once a year by calling up and trying to sing “Happy Birthday.”
When I was 7, my father started learning the recorder, which must have peaked my interest. The next year, when they demonstrated all the instruments in class, I chose the trumpet. I eventually became good enough to play in the regional symphony orchestra, and to win district competitions. I was first trumpet in the high school band for a few years. At that time, I also sang in the chorus. During these years, I also picked up the recorder, and later on, I busked in Germany and picked up some pocket change.
I played my first year in college, but then stopped playing trumpet for about fifteen years. I did, however, start learning African drumming. I did workshops with Babatunde Olatunji, and had lessons from other local players.
After I went to a dijeridu concert, I bought a dijeridu, and learned how to circular breath.
I picked up trumpet again after a fortuitous series of events, and I started playing with an improvisational group. I used my horn, the drum, the recorder, dijeridu, and voice. I started doing workshops for voice, and developed that instrument.
I promised myself that when I got a new job, I could get a flugelhorn, and that’s what I did a few years back. They say, “a trumpet to wed, a flugelhorn to bed.” Your trumpet is your wife, but your flugelhorn is your mistress. I do admit, that my trumpet got fairly jealous after I got my flugelhorn, but they have since come to an easy partnership, although, sometimes the flugelhorn is a bit testy. She pouts, and her valves stick. My trumpet’s valves are always ready for action.
So, lately, I’ve been improvising with several different configuations of people, and doing some recording (just for us), and generally having a good time. Playing my horn is a very spiritual experience, and it is my way into that altered state that is so filling.
I have only played for pay a handful of times. I wish I could find a stable group, play regularly, record, and do gigs locally. Meanwhile, I do have a day job!
I have had my children take piano lessons since they were four. It has worked. They are both considered quite musical. People say they are talented, which used to bother me, since a lot of hard work went into creating that ability, but now I realize that talent can include talents developed by hard work.
I had them both play piano because I wish I had a piano background. It is a big loss for me in terms of understanding music theory. However, I am learning a bit of it as I help them practice. I had imagined they would both pick up their “real” instrument when they were nine. My daughter started singing at that age, and my son is just entering that age. I don’t know if he’ll want another instrument.
I think that learning subsequent instruments gets easier and easier. You only have to develop a new technique with each instrument. You already know music, and sometimes you know techniques that can apply to the new instrument. I’m interested in learning to play double reed instruments, which are supposed the hardest. I am now the proud owner of a shawm, but, so far, it stands on our mantlepiece, looking pretty. I like the instrument because it’s sound is so unavoidable: a raspy, nasal version of an oboe. But learning the double-reed—I don’t know if I can do it.
Music, obviously, is a large part of my life, and I wish I could do it all the time. Unfortunately, the exigencies of life preclude that. I would like to do it for pay, but only because that shows people like it, not because I am doing it for the money. I’m not a musical whore, but I would like respect.
Well, you asked a lot of questions in one