Reflections of a Novice Stick Seminar Attendee

As I entered the offstage dressing booth at the Theatre La Chapelle, I became aware of a growing, sort of metallic tinkling sound that soon surrounded me. Suddenly I was in the midst of about a dozen men, each intently focused on his Chapman Stick. I realized that this unamplified cacophony of sounds was coming from the collection of musicians each tapping on his Stick. It was a sound I would learn to recognize, enjoy and create over the next 5 days.

For just a moment I second-guessed myself. "What was I doing at a Stick Seminar? I am not a professional musician. I've never even held a Stick in my hands? Did I really just drive 5 hours to take a risk on this new musical adventure?"

Just then, a very relaxed voice interrupted my rising fear and said "Hi. I am Mitch. Welcome to The Stick Seminar." I immediately recognized the laid back English with a hint of French accent as Mitch Polgar, who had organized the seminar and similarly allayed my hesitations when we spoke on the phone a month earlier. When I looked up and saw the placid, welcoming look on his face, I had a sense that everything would be just fine. I had made arrangements to borrow an older Stick of Mitch's in exchange for a new set of strings. As I held the vintage instrument in my hands for the first time, somehow it felt familiar.

The first evening was spent organizing the equipment and space where the class would begin the following morning. One of the men, who I would later learn was an instructor and elite Stick player Greg Howard, was showing each musician how properly adjust and setup their instrument. He seemed to want to hold each Stick in his own hands, as if to be especially sure that everything would be right for the next day. I would later learn that this is something of the trademark of Emmett Chapman, the inventor and master builder of these unique instruments.

I found Stick players to be highly tactile individuals. Whether experienced faculty or youthful explorers of the instrument, each one seemed to be very willing to extend themselves in so many ways to make the seminar fruitful and fun. Perhaps this was the most abiding sense I experienced, and it contributed so much to my own development during the course.

As the seminar began on Thursday morning, we were seated in a circle, with our Sticks plugged into a sound system and a set of monitors facing each pair of us. As we quieted ourselves, Mitch welcomed us and asked each person to tell a little about himself. Most were making a living (either fully or partly) playing and/or teaching music. As we went around the room, nearly every person spoke with a quiet passion and rather precisely about the date they first played The Stick. It was somehow reminiscent of hearing people talk about the day they became sober - a day that would somehow change their lives and set them on a new direction.

When it came my turn, I explained that I was not a professional musician, but was a medical physicist who has played music throughout my life. While I was basically competent on the piano, guitar and sax, my efforts have been concentrated on the bass for the past several years. I explained that I had played out for several years when I was younger, but that now I played weekly with our contemporary music ensemble at church, and with a band of "experienced" amateur musicians called The Methuselah Project. As one of two attendees who were total novices on The Stick, I experienced an openness and welcome from Mitch and the group that created a very comfortable atmosphere for me to ask lots of questions, play countless wrong notes, and yet slowly find my way into the world of The Stick.

Throughout the course, each of the three instructors (Greg Howard, Jim Reilly and Steve Adelson) gave one or more group sessions and conducted private lessons in an offstage room. Greg started the first group lesson with a simple riff from a song that was used as an exercise to emphasize the physical techniques of tapping, and the effect on tone and rhythm. Each of the instructors used a similar method, teaching a song in sections to illustrate a particular concept. Elements of music theory were liberally interspersed, but in such a hands-on and non-academic manner that each person could find the meaning and translate it to his hands, regardless of his level of music education or experience. Since the seminar was geared to a Sunday evening performance, each of the instructors worked with the students to prepare their songs. The more experienced players performed solo. There were also several ensemble pieces, to provide a comfortable environment for those of us who were not as far along our road with The Stick. I really enjoyed learning Jim's C Blues piece ("Throwing Flames") and Steve's tune "Fran's Mambo." Each was very supportive of the students, regardless of the level of their chops, and this created a wonderful atmosphere to learn, make mistakes, and improve.

Having played the piano was definitely helpful for me; since I was familiar with the concept of having the left hand play a bass part and the right hand play melody. For a few brief moments, I was even able to do them simultaneously on The Stick with different rhythms (like tapping the top of your head and rubbing your tummy at the same time). Then I quickly lost it and had to start over. It was a great tease!

Somewhere through the third day it was starting to make sense: bass lines and patterns, intervals of fifths up and fourths down, chord shapes across the strings to infinity, feeling the fret with the finger tips, line of attack. I could feel myself reaching the first plateau of understanding that would allow me to see just far enough down the road to where it might lead. With help from Steve Adelson, a gifted teacher and musician whose demeanor left no doubt that he had fun playing his Stick, I was able to purchase a reconditioned Stick that would arrive at my home soon after my return. There was no turning back now.

The Sunday evening performance was a blast! We prepared most of the day, with fine-tuning of sequence and sound. Stick Enterprises even sent us T-shirts for that unified look. With just the right degree of pre-performance tension and mutual support, we began.

Hearing the wide variety of creative sounds from each of guys was a real thrill. From my novice perspective, even I could see how each musician had refined their technique, adapted their style and built their confidence. Playing in my two simple ensemble parts made me feel like a 6-year old at her first dance recital -trying hard not to fall but grinning from ear to ear just to be up there with the big kids!

The audience at the Theatre La Chappelle was so appreciative, and actually included quite a number of folks from the community, in addition to our friends and families.

Bottom line - the Montreal Stick Seminar has been one of the most exciting musical experiences of my life. Not only did I get a jump-start on playing The Stick, but also the course helped me to better understand the big picture of music. I have even noticed that I play bass differently now, using many of the concepts I learned on The Stick. And for a novice Stick player and amateur musician, being in the presence of this friendly and gifted group of musicians for 5 days was like a musical retreat.

Refreshed and energized, I have returned home to practice my Stick. And I haven't seen my TV remote in days... Thanks again to Mitch, Greg, Jim, Steve, and all the participants for having shared so much of yourselves in Montreal. I look forward to the next one!

Bob Pizzutiello
Victor, NY