10 Lessons I've Learned from J.S. Bach (part 3)

The third lesson J.S. Bach taught me is to be inventive.  While he was alive, he dramatically altered the way people would think about music for generations to come.  Some of the most profound musical paradigm shifts began with him, and have lasted for centuries, even to today...things we take for granted.  We think it has always been this way.  Things like pianists using their thumbs.  Did you know Bach created that technique?  How about equal-tempered tuning.  If we had any other tuning system in our Western music, the average non-musical citizen walking the streets would declare, "That doesn't sound right!"  Bach established it hundreds of years ago.  Now all of our computer sequencers, electronic keyboards and tuning devices are all built on this system...globally.

Compositionally speaking, he pushed the boundaries of the musical instruments of his day to the extreme, like creating a four-part fugue for a violin, or creating music that pianists still believe is impossible to physically play.  He established and 'maxed-out' the concept of motivic development, which would be imitated by composers for many generations to come.  He boldly created things that others wouldn't have even dared to, most not even perceiving the possibilities that he saw.

I sometimes wonder if he ran into opposition when establishing new approaches.  Undoubtedly he did.  Obviously it didn't deter him.  At times I've thought about what he would do if he were alive today.  Would he be creating software, or using new tuning systems that are technologically available?  I know this for sure: you would find him in a church, creating new ideas and pushing boundaries as a spiritual quest, ignoring popular 'fluff', while digging deep into the reservoir of new potential within himself, and inspiring others to do the same.

So the third lesson is: Be perceptive to new potential, not just swayed by those who take popular roads easily travelled.  Search and dig for the undiscovered opportunities that are all around us, but that few dare to see.

10 Lessons I've Learned from J.S. Bach (part 2)

The second lesson that J.S. Bach so wonderfully displays is that of passion.

He had a passion that drove him to create a vast amount of music, more than most composers would be able to create in two or three lifetimes.  So what drove him in this quantity and quality of output?  Was it fame?  Was it the hope of fortune?

No one knew of Bach like we know him today, until he was rediscovered many years later after his death.  He obviously was not motivated by fame.  His employers apparently had little understanding of the greatness of his work, criticizing him as having been unproductive, when in fact he had produced in a period of seven years what most composers would have been glad to produce in a lifetime.

His income was barely sufficient to meet the needs of his family.

His musical resources were comparatively limited to other musicians living in that same time-period.  When he asked for a few more hired musicians, he was scoffed at and ridiculed. 

By comparison, most of us music ministers today have it easy!

So what motivated him?  How did he keep going in the midst of the lack of appreciation and misunderstanding?

It was his vision and his faith.  He had a vision to bring to God in worship music of superior quality.  He wasn't content to give God second best in his creativity, and he wasn't content to just let church be average.  Along with this, his personal integrity and expectation of himself was commensurate with the godly Christian values of a work-ethic not based on pleasing man, but on pleasing God.  To him it didn't matter if man revered him or disdained him, because it wasn't man he was ultimately working for. 

As prayer and worship are integral to the Christian faith, so was the act of composing for Bach.  When he wrote, he wasn't just making something to get by for the next event, rather, it was prayer and worship for him.  When he wrote, he was touching his very relationship with God.  His creativity was prayer and worship, and he participated in it on a daily basis. 

Many scholars of his work are amazed by the complexity of pattern and design.  I believe the supernatural touch of God through this interaction of prayer and worship is key to the genius that is evident in his music.

In conclusion, the second lesson that I have for you is this: Don't be swayed by the opinions of man, but rather stay true to your inner convictions which, through a relationship with God, will give you passion and unshakeable vision for the future.

10 Lessons I've Learned from J.S. Bach (part 1)

J.S. Bach was perhaps the greatest music minister to have ever lived.  As I am a music minister, and have sought to find inspiring examples to help motivate my work, I have learned to appreciate Bach's life-example (not just his works) as an excellent model of both Christianity as well as musicality.

When I was in 5th grade, we were asked to do a book report on any historical figure that we desired.  You guessed it, I picked Bach.  Ever since then, the books I have read, the works I have listened to, and even the life experiences that I have had as a music minister have deepened my respect for this man.

The first lesson I learned from J.S. Bach that I would like to share is that he was a man who studied the works of others.  I learned, back when I was doing the book report in 5th grade, that Bach studied the works of those who had come before him, like Vivaldi, among others.  He had to go to great lengths to get Vivaldi's manuscripts and would hand-copy them by candle-light secretly at night for his own research and study.  He would travel several days to reach concerts that he thought would give him some bit of musical wisdom.  Time and time again he demonstrated that he had a passion for any knowledge that would come available to him.

Many times, in today's society, we look for the 'new' or the 'trend', but lessons from those who have come before us, from those who have created works that have withstood the tests of time, are of greater value.  The future is built on the lessons we have learned from the past.  Many people do not receive inspiration from the past, thinking that it will somehow hinder their vision and hope for a better future.  I have found, however, that the more I know about the past, the greater my understanding of the future will be (as human history has a tendency to repeat itself).

By studying the life of Bach, as a music minister, I have found that many of the same difficulties he had could very well be right around the corner for me (although by comparison I've got it easy!). Knowing what happened with him helps me navigate around or through similar situations.  At the very least, it gives me comfort to know that someone else has been successful before me. 

So my first lesson to you is this: Look to the past to those who have lived and created before you, and dig for hidden treasure.  You may be surprised at what you find!

Why Does all the Music Sound the Same?

Why does all the music sound the same?  Have you ever asked that question?

How about spicing it up with some serialism, or some retrograde inversion…or maybe some augmentation or diminution?

If you’re in a rut musically and you’re looking for some ideas, check out how you might be able to use some Classical Music disciplines to spice up your creativity and sound like no other band out there.  (For more ideas, see my article What Is "Classical Music?")

I’m not saying you’re going to like this short song I wrote for a Christmas Eve service at my church, but it shows how Classical disciplines can be applied to make something completely different.

When I wrote “God of the Heavens” I sat down and asked myself, “What would it look like to write a song using a simple contemporary song-structure, but a fully orchestrated use of contemporary Classical techniques and motivic development…no holds barred ?”

Here’s what came out, it’s not with a real orchestra, since I don’t have one.  I used Apple Logic to build it.  Hopefully someday it could be performed with live players.  Nevertheless, I stated the theme with the opening instrumental section, then used it to develop Verse 1.  Verse 2 is an inversion of Verse 1, to portray the fact that Jesus came from Heaven to Earth, a mirror image, upside-down from heaven.  There are other motivically developed ideas that I used as well…so essentially, it’s a Christian/Pop-song/Contemporary Classical piece.

I guarantee you…you’ve never heard ANYTHING else like it!

The God of all eternity,

The God Who spread out all the heavenlies

has come to the earth as a tiny seed,

planted into the earth, just for you and me.

The God of all the life we see

has come into the very air we breathe,

and has given Himself to us

that we would be set free

from disease and inflicted poverty.

God of the heavens,

God of the miracles we see,

God of the true reality,

You came to earth,

You came through birth.

(repeat)

God of the heavens,

You came to earth.

You came to earth.

You came through birth.



Opposing Paradigms?

Should composers be performers, or performers composers?  Where in the world did improvisation go, when it comes to academic music training?  It seems that the longer a musical style is around, the more cemented it becomes, less flexible, less innovative.  Jazz, birthed in a highly innovative environment, is already starting to show signs of this.

What about new styles versus old ones...is there any common ground between Pop genres and Classical disciplines?  What would benefit popular styles from the Classical heritage, if anything?  What would J.S. Bach likely do, if he were alive in today's culture?

These are some paradigms that seem to be contradictory, but maybe these questions should be asked.

To find out more, see my article Opposing Paradigms.