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Borealis .
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The Learning Process continually yields a result, and that result becomes the next part of the learning process, ad infinitum. Even the time you spend not doing music is part of this process, So, essentially, the process is the thing.
Consider the following scenario:
When you begin your formal music training you learn something called THE MAJOR SCALE, which you practice diligently on your instrument every day using scale patterns and exercises, etc. Then, one day you realize that learning about the major scale is part of a process because it leads you to a result – or the next step: Using the notes of the major scale to IMPROVISE OVER A CHORD PROGRESSION.
So, now every day, by yourself, you practice what you perceive to be the result of your previous practice (ie, using the major scale to improvise over a chord progression), and soon you discover that what appeared to be the result of your previous practice is, in fact part of a process, because it leads you to yet another result, - or the next step: Using the major scale to improvise over a chord progression AT A JAM SESSION.
Now you practice playing jam sessions every day, and soon realize that this particular result is yet another part of the process because, once again, it leads you to a new result: Using the major scale to improvise over a chord progression at a jam session, BUT DOING IT REALLY WELL!!
You then practice this result every day and eventually see that this is not the final result either but just another part of the process because, one day, it leads you to still a greater result: Using the major scale to improvise really well over a chord progression – ON A REAL JAZZ GIG, (but for very little money).
So you practice playing real jazz gigs for very little money all the time, and then you find out that even this result is part of the process because, one day, it leads you to one of the most profoundly significant and challenging results of all: Using the major scale to improvise really well over a chord progression on a real jazz gig – for NO money!
Then, suddenly, your practicing is interrupted by a loud, contemptuous inner voice, hysterically bellowing at you in italicized letters and saying:
“Hey, what’s going on here? Why can’t I make any money playing jazz? This is absolutely crazy! I never heard of such a thing! I protest! It’s not fair!! You mean my parents were right after all? What the heck, then, if I can’t make any money playing jazz, why bother to practice? I’ll just go ahead and become a neurosurgeon instead, or a jazz critic. But hey, it just isn’t fair…”
Soon after this highly emotional outburst subsides, however, you notice a quiet, humble, inner voice calmly reminding you that playing jazz is not only about making money; and that jazz and money have always been a rather strange combination; and that relatively few jazz players make a lot of money playing jazz anyway; and that making money sometimes means not playing jazz; and that playing jazz sometimes means not making money; and that making money and not making money are not the final results anyway but just parts of the process; and that practicing, of course is the process and the process IS the thing, so – why NOT continue to practice?
Thus reassured, you approach your instrument once again with conviction and determination as you anxiously grab the telephone to call your parents at the office and ask them what its like to be REAL neurosurgeons!
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