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Community Talking about Music

Coming Back to Music After Years Away

Blogger Ekta Saha was inspired to write this piece about the experience of dipping her toes back into the waters of music-making. Welcome back, Ekta, the water’s fine!

The things we abandon in the name of growing up have a way of finding us again. If we let them.

There is a particular kind of guilt that follows ambition everywhere. It’s not loud or dramatic. A quiet steady hum that sits beneath everything you do.

The kind that reminds you, on a random evening, that you used to play. That you used to sing. That somewhere between the deadlines and the promotions and the relentless forward motion of building a career, you stopped.

I stopped at twenty-one. Not on purpose. There was no goodbye, no conscious decision. Music just slowly got crowded out by everything that felt more urgent, more serious, more adult. And I let it go like you let go of a lot of things in your twenties without fully realizing you’re letting them go.

For years I told myself it was fine. I was busy. I was building something. There would be time later.

But later took a while to show up.

The hardest part wasn’t starting again. It was letting myself believe I could.

When I finally decided to come back to music, like really come back, not just hum along to a song in the car – the first thing I felt was not excitement. It was an irrational discomfort at the idea of being a beginner at something I once knew. At sitting with an instrument and relearning what once felt effortless. At wanting something that didn’t feel “age-appropriate” anymore to the world around me.

That last part is what I want to talk about. Because nobody said it out loud. Nobody told me that I was too old or too late. But the feeling was there anyway, this quiet cultural whisper that learning certain things has a window, and if you missed it, you missed it.

I almost believed it.

We’ve been taught that learning belongs to the young. That belief is quietly damaging in ways we rarely acknowledge.

What changed everything was not a sudden burst of confidence. It was people. Those who cheered me on without judgment. Who said “of course you can” like it was obvious. People who showed up for my fumbling early attempts the same way they would have shown up for a polished performance.

I cannot overstate how much that mattered. When you are coming back to something after years away, especially past the age where society tells you learning is supposed to happen – encouragement is not a nice-to-have. It is the whole thing. It is the difference between quitting after week two and actually staying.

Support, it turns out, is not just emotional scaffolding. It is the structure that makes growth possible. Without it, most adult learners don’t fail because they lack ability. They fail because they run out of reasons to keep going when it gets hard and uncomfortable and slow.

With it, something different happens. You start to trust the process. You show up even on the days you feel silly. You begin to measure progress not against some standard of where you should be but against where you were last week.

And slowly, without really noticing, you start to get better.

Coming back to learning as an adult is not about recapturing something lost. It is about discovering what you are capable of now with everything you have become.

I can’t help but think of all the people sitting quietly with something they once put down – a language, an instrument, a subject, a skill – telling themselves it is too late. That the window has closed. That wanting it now, at this age, in this season of life, is somehow indulgent or naive.

I want to tell every single one of them: the wanting is the point. It’s a sign that it still belongs to you. The right support. The right people, the right environment, the right voice that says you can do this. Can make all the difference between a dream that stays on the shelf and one that finally gets to breathe.

It is not too late. It is just a different kind of beginning.

One without the illusion of urgency. One without the pressure to be instantly good at something that deserves time. One where learning is slower, quieter, more deliberate and somehow more honest for it.

We are not meant to begin once. We are meant to begin as many times as it takes with whatever courage we can gather in the moment.

If there is anything worth holding onto then it is this: the life you want is not something you age out of. It is something you return to whenever you decide to.

 

Ekta Saha is the Lead Content Marketer at Wiingy. She holds an MBA in Marketing. She works at the intersection of strategy and storytelling, figuring out how to create content that resonates and reaches the right audience. Beyond the brief, she is learning to play the piano and is always looking for new ways to experience music, from singing to exploring indie and acoustic tracks.

Categories
Chamber Music Community Talking about Music

Music for the Love of It

Below is a guest contribution by violinist Joel Epstein, author of the new book Music for the Love of It: Episodes in Amateur Music-Making

The illustration above is a cartoon by James Gilray from the late 18th century called “A Little Music, or the Delights of Harmony.” It illustrates one of the recurring themes of the bookthat, while in society women may have been subordinate, in the music salon they were more than equals.

As an amateur violinist, I feel—and, I think, most of us feel—that I am carrying on a great tradition reaching back hundreds of years. A few things inspired me to explore that tradition, an exploration which eventually culminated in my book Music for the Love of It: Episodes in Amateur Music-Making.

The first thing that tickled my interest was the dedication on the title page of the Brahms string quartets opus 51: “To Theodor Billroth.” The name was vaguely familiar but I wasn’t sure who Theodor Billroth was. A quick check of Wikipedia revealed that he was a leading physician, an amateur violist, and an intimate friend of Brahms. In a used bookstore I found a collection of Billroth’s and Brahms’s correspondence, which provided a fascinating insight into the composer’s creative mind and the key role the amateur violist played.

The second thing was Cobbett’s Cyclopedic Survey of Chamber Music. This two-volume tome from 1929 I also found in a used bookshop. It is far more than an encyclopedia—it is one man’s personal encomium to the wonders of chamber music. The world of chamber music, Cobbett wrote, “…was an art for which I had a definite affinity. It is not an exaggeration to say that there opened out before me an enchanted world into which I longed to gain an entrance.” The encyclopedia was, like all encyclopedias, erudite, comprehensive, and written by leading experts in the field; on the other hand, it was filled with Cobbett’s own expressions, very personal and very eloquent, of his love for the glories of chamber music.

One thing led to another, and I found myself delving into other episodes of amateur music-making in history: the pivotal role of women in promoting amateur music in America; the brass band movement in Britain, which began as an attempt by moralists and by industrialists to use music to reform retrobates and to quell labor unrest in the coal mines and textile mills of Britain, and ended up as a mass musical movement that swept the country; the romance of Russian Jews of the early 20th century with the violin. In the end, it all started to fit together into a coherent story about the very tradition that we all feel to be our joyful duty to sustain.

The views and opinions expressed in this blog post are those of the author, and do not necessarily reflect the views or positions of AMN. 

Categories
AMN mentors Piano Talking about Music Workshops

Meet Pianist Laura Magnani

Laura Magnani joined series moderator Cathy Angelo by Zoom to talk about her relationship with Paul Hersh and her deep connection to Chopin’s piano music.

“I’ve felt this connection with Chopin ever since I was very little – it came as a primordial call. 

When I first started playing Chopin’s Ballade No. 3 in my teens, it was a very difficult work for me – there were many challenging technical details of dynamics, pedal, voicing, and touch to overcome. In time after studying all four ballades and many other piano works, you come to terms with Chopin’s language and style. And then you start to understand what he meant in a particular part of the third ballade and you go back and revisit everything with new knowledge. Once I reached a point where the technique was not such a big challenge and I could go beyond the stress of playing the notes, it was very helpful to read the four poems by Adam Mickiewicz. The poems were not a direct influence, because Chopin was a purist, he would not understand or agree with any external connection between the music and other things. His music is never descriptive [of] a poem or a landscape. In fact he doesn’t have names for his compositions, they’re scherzos, ballades, etudes, sonatas – there are no descriptions. But I couldn’t help seeing the deep impression he received, particularly for the third ballade, from the poem about Ondine, who is the goddess of water. Throughout the piece there’s the feeling of being under a spell of a nymph who has an agenda towards the shepherd – she wants him to get into the water and get lost in the water so she can possess his soul. It’s just so obvious to me that there is a story behind this piece even though it’s not declared, it’s not named so when I play it, it goes in front of my eyes like a movie, it has a narrative, it has a story to tell. That’s what I love about this piece.  

The third ballade has a particular way of describing an inner state of being completely fascinated, almost under the spell of something bigger than you, almost paranormal – when you’re drawn into something, a call you can’t resist – and this piece has that call in the main theme. It’s like something is calling him irresistibly. It’s so human, it is such a description of the human journey, and part of the human journey is to be magnetized by things that we can’t understand. We get so wrapped up and completely involved to the point of being completely lost – it’s a feeling between wonderful and terrifying, and I think this piece conveys all these feelings. That’s why it is so compelling to me.”

I hope that you will join AMN’s third session of the Piano Conversations series on May 4 as Paul and Laura explore one of Chopin’s best-known piano works, Ballade No. 3  in greater depth.

Learn more in this preview video!

ATTEND ONLINE

Online participants will be part of the conversation, adding questions and comments in real time. And all registered participants will receive a video link to the workshop recording.

Tickets are $65 for the series, $20 for individual sessions.


DATES, TIMES, AND TOPICS

Wednesday, April 20, 2022 | 5:30 p.m. Pacific
   Ludwig van Beethoven
   Piano Sonata, Op. 109 (1820) – 3. Theme and Variations
   Pianist: Christopher Basso

Wednesday, April 27, 2022 | 5:30 p.m. Pacific
   Franz Schubert
   Drei Klavierstucke, D. 946 (1828) – No. 1  Allegro assai
   Pianist: Hye Yeong Min

Wednesday, May 4, 2022 | 5:30 p.m. Pacific
   Frederic  Chopin
   Ballade No. 3 in A-Flat Major, Op. 47 (1841)
   Pianist: Laura Magnani

Wednesday, May 11, 2022 | 5:30 p.m. Pacific
   Maurice Ravel
   Miroirs (1905) – 3. Une barque sur l’ocean 

   Pianist: Monica Chew

Categories
AMN mentors Piano Talking about Music Workshops

Meet Pianist Christopher Basso

Christopher Basso joined Cathy Angelo, moderator for the upcoming Piano Conversations series, to talk about his relationship with Paul Hersh

“I don’t recall my musical life without Paul!” 

Christopher Basso has known Paul Hersh for over 40 years since working on his undergraduate degree at the San Francisco Conservatory of Music. “His words and his insights into the music have stayed with me over all of these years and even in my own teaching today, I find myself harkening back to the things that I’ve learned from Paul – elements in the music I look for as a result of studying with him. I think for musicians in the Bay Area, Paul is central to that musical life not only for pianists but string players, because Paul is in that unique position where he’s a pianist who is also a violist, so he is exposed to music and plays music that pianists can only dream of. He adds insight from a string player’s point of view, which is more rare with pianists. I don’t know any other pianist who also plays another instrument professionally.” 

In a masterclass series that Paul gave at the Conservatory on Beethoven’s 32 piano sonatas, Chris remembers hearing the 3rd movement of Op. 109 for the first time – “I’d never heard anything like it!  I’ve studied the piece for over four decades on and off, and every time I come back to it there’s new insights, new things to be discovered – you never finish a piece. That’s the great thing about music, it’s a living thing, so every time I come back to it, there’s been something else that I’ve picked up on.”,

Join us for the first session of AMN’s Piano Conversations series on April 20 as Paul and Christopher explore the theme and variations of Beethoven’s piano sonata, Op. 109 in greater depth.

Learn more in this preview video!

ATTEND ONLINE

Online participants will be part of the conversation, adding questions and comments in real time. And all registered participants will receive a video link to the workshop recording.

Tickets are $65 for the series, $20 for individual sessions.


DATES, TIMES, AND TOPICS

Wednesday, April 20, 2022 | 5:30 p.m. Pacific
   Ludwig van Beethoven
   Piano Sonata, Op. 109 (1820) – 3. Theme and Variations
   Pianist: Christopher Basso

Wednesday, April 27, 2022 | 5:30 p.m. Pacific
   Franz Schubert
   Drei Klavierstucke, D. 946 (1828) – No. 1  Allegro assai
   Pianist: Hye Yeong Min

Wednesday, May 4, 2022 | 5:30 p.m. Pacific
   Frederic  Chopin
   Ballade No. 3 in A-Flat Major, Op. 47 (1841)
   Pianist: Laura Magnani

Wednesday, May 11, 2022 | 5:30 p.m. Pacific
   Maurice Ravel
   Miroirs (1905) – 3. Une barque sur l’ocean 

   Pianist: Monica Chew

Categories
AMN mentors Composers Jazz and Beyond - Non-Classical Music Workshops

Meet Producer Jef Stott

Blog post by Jef Stott.

Hello everyone!

Jef Stott here and I’m a music producer and educator here in the Bay Area and I’m really excited to present my class on music production in Logic Pro for Amateur Music Network. Producing music has been the focus and passion for most of my life and I can’t wait to share my knowledge and insights with you.

This is going to be a great series of classes for composers/ producers and musicians interested in digital music production. All students are welcome, these classes are definitely geared towards the entry level.

You’re going to learn how to mix your tracks, produce your own songs, and write your own beats and bass lines. We will also learn to edit vocal and instrumental tracks. We’re going to cover a wide range of genres, from electronic and urban to traditional recordings of live instruments.

It’s not going to be purely technical! We’re going to talk about the aesthetic choices that people are making as they are producing music. We will definitely go under the hood into the mechanics of music production.

We’ll discuss recordings we’ve listened to and learn about the role of the producer:

  • How did they do that?
  • How do they make that drum sound so big?
  • How do they make those vocals sound so powerful?

We’re going to answer a lot of those questions in this class.

We’ll focus on Logic Pro, the music software, but the concepts I’m going to be teaching in the class are going to be universal, and you can apply them to Pro Tools, Ableton or any other music software. We’ll review important basic concepts such as audio editing, MIDI production, microphones, mixing, and more.

It is going to be a fantastic series of workshops and a true intensive with three sessions in one week. I really hope that you can join me.  It is my honor to teach all that I have learned and I can’t wait to share everything with you.

Jef breaks down the power of Logic Pro software for you.