health

Growing up with a musical grandmother, and with parents that often discussed the power of positive thinking, one of the greatest challenges for me was learning to visualize the music industry without rose colored glasses. Too often I would walk through our house, reading the trade magazines, dreaming of playing on stage with my guitar heroes, and imagining our musical kinship as if it were really true.

Unfortunately the industry and the people around me in my adult life did little to reinforce this way of thinking. In fact every time I began to believe in myself through little accomplishments along the way, my positive perspective was shattered by the negative ramblings of some jaded music veteran or a distant family member offering the staggering statistics against monetary success in the music industry. Difficult school situations, coupled with a late start learning my instrument of choice, worked to destroy my courage and protract my musical growth.

One morning I was especially down. It just seemed I would never reach the benchmark of professional musician. Sipping cold coffee, playing George Benson licks on the roof of my house, I got a call from a drummer I was working with at the time. He said there was a wedding gig coming our way, but only if we hired a vocalist (at the bride’s request) and play songs from the American Songbook. Now at this point I was only interested in instrumental music and our band’s set list reflected this.

But all of a sudden, things began to change. Our band took the wedding gig and we started learning vocal tunes. Before long we had married a thought to an action and were sounding better than ever before.

I was stunned by what was happening. I realized that by trying a different approach my guitar skills had responded for the positive, but the weirder part was when my visualizations started to become reality. Gigs became shows, and our new vocalist and I started writing our own original material. At the same time our band started playing regularly and now we are working on our second album in as many years. Life is completely different.

The music industry is still not the fairest, most equitable business system anyone can ever experience. There are plenty of reasons I could offer not to pursue a life in music, and now that I have become conscious enough to fully comprehend the good, the bad, and the ugly of the industry there is still the occasional doubt. That being said, I know that whatever lies ahead will be better than what lies behind. The best part is when I wake up and realize I am glad I took the leap and never looked back.

The Brehms Blogger
staffwriter@bluelogicentertainment.com

Avoid tension.  Very few musicians think about it until they hear a nasty pop in their wrist.  Ask Vito Bratta about that.  A good warm–up can help prevent serious injury, so start with some stretching and then move on to some scales and arpeggios.  Avoid playing really hard songs “cold.”  Keep your music, metronome, tuner, etc. within your reach to prevent twisting your body, and keep your practice space well lit to avoid eye strain.

If you are not sure if your technique is problematic, take a mental snapshot to see if you voluntarily tense up your jaw, neck, shoulders, or another part of your body.  One you identify where you are tensing up, invest the time to correct the problem.  Always attempt to support your body weight evenly as you play.  Loosen your grip once in awhile to avoid excessive tension in the knuckles or wrist.  Be patient and take frequent breaks to prevent tension from building up.  Small adjustments in your playing habits can go a long way to preventing injury.  Shorter, more frequent practice sessions are easier on your body than marathon practices once a week.

Your equipment can also cause trouble.  If you play a stringed instrument, try lighter–gauge strings or consider lowering the action.  Always use a comfortable strap, and find a gig bag with backpack–style straps to distribute weight evenly.  If you have to transport an amp or PA to gigs, invest in a small dolly.

Listen to your body.  When your arms are feeling tired and strained from playing – stop and rest.  When your back and neck are starting to ache – take a break.  When your throat is starting to get sore – take a breather.  Practice makes perfect, but too much practice can be potentially dangerous.  Take regular breaks, pace yourself do not force yourself.

Do not ignore the warning signs.  If you fear you are in danger of injury or have injured yourself, don’t wait, consult a doctor immediately.  Most injuries are treated easily when caught early.  The most difficult time in my professional life happened during a 9 month stay overseas.  I wanted so badly to improve my playing.  I practiced and practiced for hours on end without even the tiniest break.  When I did finally stop playing the guitar (usually to eat something unhealthy) I compounded the issue by hopping over to my computer and sliding the mouse around for hours and hours.  I never rested, moving back and forth from one to the other.  Then one day I realized I couldn’t hold a fork to eat.  The growing numbness in my hand had progressed to the point of complete failure.  I was diagnosed with a combination of tendinitis and the more common nerve entrapment syndrome, carpal tunnel.  My level of discomfort was steep enough to warrant my arm in a sling and various forms of rehabilitation for six months.

The rehab process was tedious and slow, but I learned a lot.  For instance, carpal tunnel is a specialized example of subluxation.  The hand has many nerves that travel in and out of a tunnel of bones forming the wrist (these bones being the carpals.)  This delicate system of nerves can become entrapped, compressed, and pinched with the slightest misalignment of the carpal bones.  Tendinitis on the other hand, is really a description of the symptom and not the cause.  Tendinitis is an inflammation, and can be “minimized” by locating the nerves that are blocked and/or the nutritional problems causing it.

Oftentimes  the life of a musician can be a world of stress and stimulation.  This stress – whether physical, mental, emotional, or chemical – first stops at the adrenal glands and makes them overactive.  Your body’s adrenal glands sit atop each of your kidneys and produce a very powerful chemical called adrenaline.  In times of stress your body uses this chemical to help keep up with what your brain is telling it to do.  Eventually, without proper nutrition, stress burns out the adrenal glands and your body cannot keep up.

I often made the mistake of fueling my body with junk food, not getting enough sleep, all the while working under high-pressure situations.  Turns out my adrenal glands were blown out and highly deficient in B and C-vitamins.   Nowadays I make a habit of eating a decent breakfast and taking my vitamins.  Turns out Mom was right all along.

Remember, prevention and attention are the keys to avoiding tension.  If you take your vitamins, rest, and lighten up (your grip), there is a good chance you will prevent injuries and ensure you will be able to play your instrument as much as you like.

- The Brehms Blogger
staffwriter@bluelogicentertainment.com

Many musicians have experienced the tight hands, muscle strain, or fatigue from playing too much in an intense workshop or marathon practice session.  Playing an instrument is a complex, physical activity–just ask any novice guitarist who has yet to build up calluses or is still fumbling with barre chords.  But few musicians think about the physicality of playing their instrument until an injury like tendinitis or carpal tunnel makes it uncomfortable or impossible to play.  Fortunately these injuries are often preventable with some planning and awareness.  As a guitarist with carpal tunnel (over ten years now), I can offer a personal perspective on the subject, but in no way should this substitute for medical advice.  If you are experiencing pain or continual discomfort, see a doctor who has experience diagnosing playing-related injuries.

Most playing–related injuries fall under the following categories:

Cumulative Trauma syndromes.  Usually caused by repetitive motion and occur mainly in the wrist and forearm.  Symptoms include fatigue, tenderness, pain, swelling, numbness, and lack of control.  The most common cumulative traumas are tendinitis (inflammation of the tendons), epicondylitis (inflammation of the area near the elbow), and bursitis (inflammation of a fluid-filled sac near a joint).

Nerve Entrapment syndromes.  If you work at a computer (most of us do), you’re probably familiar with the most common nerve entrapment syndrome:  carpal tunnel, which is caused by the pressure on the median nerve in your wrist.  Symptoms of nerve entrapment syndromes include pain, numbness, weakness, and tingling (a “pins and needles” sensation).

Thoracic Outlet syndrome. The nerves behind the collarbone (the lower brachial plexus) originate in your neck and connect to your arms and hands.  When those nerves become compressed, you may feel pain, weakness, or numbness in your arm or hand.

Focal dystonia.  Poor posture, awkward body positioning, and holding your breath while you play can lead to an abnormal spasm of isolated muscle groups.

“If it hurts, don’t do it.”  You have heard that one before.  I chose to ignore this primitive but plausible advice.  Before long I was unable to hold a fork, and forced into rehab.  Arm in a sling for 6 months, my disposition was intolerable at best.  Before seeking treatment I had convinced myself the early symptoms were a sign of weak hands and I needed to practice harder and “muscle” through the pain.  Do not do this!

On the flip side, your playing might not be the problem.  I once know this amazing classical player with incredible technique who suddenly experienced wrist pain after playing for years without mishap.  When I asked what else he was doing, he told me he was a computer programmer and was spending hours on end (with little sleep) punching keys.  Each of us are different, and sometimes our bodies will respond poorly to common, everyday situations–driving a car with a standard transmission, wearing tight wristbands (I don’t know how Zakk Wylde does it), or sleeping in the wrong position–can each have a direct impact on your ability to play comfortably.

Next time I promise to offer some prevention techniques I learned over the years.  Sadly, I do still have carpal tunnel, but I have learned to keep it under control without the expensive surgery.  In the meantime, I encourage you to listen to your body and be aware of what it is telling you.  If you ignore it like I did, you may need to borrow my old arm sling.

- The Brehms Blogger
staffwriter@bluelogicentertainment.com

Lend Me Your Ears

October 28, 2010

Van Gogh is famous for at least one of them.  Shakespeare wrote asking to borrow them.  A lot of musicians will tell you it is the most important piece of equipment they carry.

For most of us, our ears come with a lifetime contract, but becoming a professional musician means at some point you must focus on ear training.

University of North Texas Jazz educator Dan Haerle often said, “In order to judge relative pitch (and eventually perfect pitch) you must train your ear to learn and recognize different intervals and harmony.”

Dan would further say that, “difficult as it seems, even small amounts of time spent on ear training will prove beneficial.  No matter your instrument, you will be able to learn songs, write songs, and eventually transcribe songs, increasing (the) opportunity for a more profitable future.”

To further Dan’s point, and as a serious modern day musician, you might consider the following exercise of interval recognition:  Compile a list of all the interval names from Minor 2nd all the way to an octave.  Then look up examples of those intervals in popular pieces of music.  For example the Minor 2nd interval is the same as the famous theme from the film Jaws.  Now randomly choose different intervals and sing or hum the two notes that make up the interval.  This will train your ear to recognize the interval.

Chord recognition is another great exercise.  Once again, write out various chords you’d like to recognize.  For example Major, Minor, 7th and sus4 chords.  Then play them in random order.  Can you tell how they sound differently?  When listening to some of your favorite music, see if you can recognize any of the chords being used.

If you want to make the most of these exercises then record yourself playing random intervals and chords.  Write down the correct pitch for each.  Challenge yourself to an ear test.  You might also schedule regular practices with a friend so you can challenge each other.

If you are interested in learning more about ear training and would like to see a list of recommended software packages please contact me at Blue Logic Entertainment.

-The Brehms Blogger
staffwriter@bluelogicentertainment.com

It’s mid-October, the location is AMS Pictures and the The Brehms just walked in and started conversing with Cliff, the AMS sound technician.

This American Diabetes Association event is being held in a classy, converted studio space typically used for Television and Film.  Stephanie moves quickly across the aisles in her pretty blue dress, set list in hand, hunting for the lighting technician.  All at once she pauses, looks back towards David and smiles while he sound checks with an original instrumental song.  Judging by her reaction there may be bigger plans for this song in the near future.

With a positive outlook and a shared heart for charity, The Brehms are visibly thrilled to be the featured act at this event.  “We love the atmosphere at charity events, visitors from all walks of life come together for an inspired purpose,” says David Brehm.  “As soon as we know our availability we immediately respond to humanitarian causes, but this particular event is especially important to us as we both have family members who struggle with Diabetes.”

”I was so excited this event was going to happen,” says Stephanie Brehm.  “So many people coming together with giving on their mind.  It is inspiring.”

It is 7 o’ clock, the crowd has arrived and The Brehms are moving into position for their first set.  David strums a saucy little arpeggiated intro and Stephanie steps up to the microphone.  A beautiful acoustic rendition of their original tune “Red Dress” comes to life.  This is music with a purpose.

Gear Head note:   The Brehms as a pair do share and affinity for stripped-down rigs – David plugs both his Martin guitar and his Nylon Stringed Godin through a Boss Loop Station, then he and Stephanie both plug into a Bose L1.  That signal is directed into a Mackie board where it is run out through two JBL main speakers, then the stereo signal is sent to the studio’s overheard PA.

- The Brehms Blogger
staffwriter@bluelogicentertainment.com