A Quote by Jerry Garcia
In reality everybody has got musical thoughts. If you are able to overcome the part of it which is muscle training, which is what most musical playing actually is, performance actually is, is muscle training, and you are able to convert your ideas directly into music, you're a musician, too.
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I don't lift weights at all. Every muscle on my body is for an actual task; there is no muscle that I train for show. If I want to be able to do a certain move or action, I train really hard until I can. And with all of that training comes muscle definition, so it's really an afterthought.
You can't think and play. If you think about what you're playing the playing becomes stilted. You have to just focus on the music I feel, concenctrate on the music, focus on what you're playing and let the playing come out. Once you start thinking about doing this or doing that, it's not good. What you are doing is like a language. You have a whole collection of musical ideas and thoughts that you've accumulated through your musical history plus all the musical history of the whole world and it's all in your subconscious and you draw upon it when you play
I'm training at Phase 1 Sports in Las Vegas, and it's a very high-end training facility for a lot of top-level athletes. I have been able to add a lot of power and the endurance to keep that power going. I've always been powerful, but the muscle conditioning I've been able to add has been a tremendous amount of help.
There are performances in which the people who have the best muscle skills and musical history may be on the stage, but it's not? - ?like a Dead show is not like a usual sit-down performance; the audience does participate.
I could never overstate the importance of a musician's need to develop his or her ear. Actually, I believe that developing a good 'inner ear' - the art of being able to decipher musical components solely through listening - is the most important element in becoming a good musician.
Actually John, Paul Rutherford, and Trevor Watts, and several other rather well known English jazz musicians had got their training by joining the Air Force, which was a pretty standard way for people to get some kind of musical education in those days.
The idea behind resistance training is that you're basically tearing something and creating a microtrauma in the muscle. When the muscle recovers, it's going to recover stronger and denser than it was before.
I believe all of my talents come from the Lord. All of my talents are God-given - that's how I was able to write music without any professional musical training.
What I've done is back off weight training and do more wrestling, cardio - where you're building muscle but not building weightlifting muscle.
Music is all about training in harmony, training to understand and use musical energy for our greater pleasure by attuning to the natural laws of the universe.
With all the hybrid stuff and things like that, I think that's a fabulous direction to go with cars in that sense. As someone who grew up around muscle cars, I'll never not be able to not love a muscle car. Not that I don't care about the environment, that's not it. But I adore muscle cars.
Actually, music gave me the support when I needed it. I would never have gone to college unless I'd gotten a piano scholarship. And now I'm so glad I got to learn to play the cello, which is a different experience, you're flexing a different muscle, but it's beautiful because it is music.
In order to pack on the most amount of muscle from your training, you need to train specifically for hypertrophy.
Once you've developed some technical facility on the guitar, the musical side (which entails theory, harmony, chord structure, ear training, sight-reading, composition and being able to hear chord progressions and licks) comes into play a lot more.
I've always been singing. Since day one. I started doing musical theater and you have to sing in musical theater and so that's where I got most of my training. So singing on stage, you just inevitably, when you're around other vocal artists, you get better at singing.
All musicians practice ear training constantly, whether or not they are cognizant of it. If, when listening to a piece of music, a musician is envisioning how to play it or is trying to play along, that musician is using his or her 'ear' - the understanding and recognition of musical elements - for guidance.
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