 Landscape in Loma de Cabrera with double rainbow in the background I just came back from a trip to the Dominican Republic. One of the activities I did there was a music education mission in underserved communities through the Cheerful Hearts Mission. We were close to the border with Haiti in a little village called Sabana Clara. We would have Haitian musicians cross the border and receive instruction from the teachers that went from the United States. Every time we arrived into the location where we taught, the Haitian musicians would receive us with a joyous fanfare. They would play their instruments and sing. You could feel their happiness and how much they appreciated that we were there. I feel that even though I was there to teach, I was the one that learned the most. Throughout the days I was there, I experienced how much they love music. They feel it in their bodies, in their bones! Their passion goes beyond just words… It is as if I had been numb to music, and they had never lost it. One evening we were reflecting on the day of lessons, and one of my colleagues mentioned that they really resonated with a quote: “Being a musician is not about being a good musician. Being a musician is simply about sharing music…” This hit me very hard emotionally because being a classically trained musician, I can say with confidence that my focus has always been to improve. It seems that I had lost my way, and their passion for music and their love for connecting with it reminded me of how much I loved making music when I first started. Back then, I was not focused on being “right”. I was focused on how I felt while I played a simple melody, or followed the chords to one of my favorite songs. Back then I was amused by the smell of the wood of my guitar, by how heavy it was and how cold it felt against my arm… This feeling is indescribable… it fills your body and momentarily, when you were able to play something well enough, you felt fulfilled. I also remembered how good it felt to simply let go and not think about mistakes, intonation, etc... and just focus on enjoying and focus on the metaphysical aspect of music sharing. I remember there was nothing negative about it at all. That day, on the car ride taking us back to our hotel, all the way down the mountains, I listened to music with my headphones on. There was happy and sad music, and I felt it like I hadn’t in a long time. I am not a dancer, and I wanted to dance! I am a shy person, and I wanted to sing out loud. On the slow and sad songs, I cried a little. I even saw life differently. My love for music had been rekindled. I remembered why I had become a musician. I wanted to play guitar, I wanted to make music in that moment. When I got back to my room, I listened to Silvio Rodriguez. I listened to several songs and I couldn’t help myself but to play and sing silently (so I don’t wake anyone else in the hotel!). I played and sang “La Vida” and that feeling of fulfillment came back to me, like an old friend. For the rest of the mission, every time I made music, I was the happiest. I remembered the real reason why I became a musician… to share music and awake emotions in me and in others. Even though it is important to be a good music student and take care of accuracy, intonation, technical control, and all of that… it is even more important to not forget the real reason we are musicians. We are in a world that needs the metaphysical. In a world that is always rushing us, full of superficial things, full of insecurities and distractions. We, musicians, are those who make the world special… a place someone wants to be in. At the end of the day, we are the ones that make life worth living... I love who I am when I make music. "La vida que pende de todo La vida de cada emoción La vida en exceso, la vida de un beso La vida me ha hecho canción" - Silvio Rodriguez Carlos Bedoya, 06/05/24
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 Ceramic by Matthew Rohde I cannot express how important it is to be surrounded by people who are like you and have similar goals to you. It’s so essential to talk and share moments with people who are amazing at what they do. It rubs off! Every time I have gone to a festival (to compete, to participate, or to play), I have always found that I learn something new. You never know when something is going to click! I am sitting right now in Ciudad de Mexico, after a performance that was not so great according to my taste and expectations… Usually, after a performance, I take the rest of the day off, as the mental strain usually wears me off totally. However, this time, I couldn’t stop thinking about what possibly went wrong with my sound and my lack of security on my right hand. I know for sure I don’t feel completely good about my right hand sound and technique, so I have been talking to a lot of people at festivals and everywhere else about their nails and their approach to the right hand technique. It was close to midnight and I was still practicing, when I decided… what if I just try to bring my right hand angle closer to the thumb? – this was suggested several times by my mentor, I had tried it several times, but couldn’t feel totally good about it. Then, at that moment, I remember something that a friend of mine told me in my latest festival in Dallas.. he said: “Since I am studying with my new professor, he’s been asking me to dig in more into the strings, and I love it!”. Two weeks later! It was 2 weeks later that I made a connection between the 2 and unlocked a small part of the puzzle. My sound improved drastically right away. Of course, it’s not perfect yet, but it’s a step in the right direction. Learning by osmosis is a concept that I am convinced is the secret of successful music studios around the world. Sharing experiences, and constantly collaborating towards a common goal. Just simply watching and listening to someone play or talk can give you the next hint that will allow you to achieve the next level. Never miss an opportunity to grow! Pay attention to your friends, appreciate their experiences, and listen to those who have walked your path… Enjoy listening to this Passacaglia as you read  Have you ever wondered why some teachers still tell you things that you already know? I have found myself in that situation pretty often lately. And while this is a sign that my knowledge is increasing, it’s also a sign that I am not doing something that I think I am doing. In other words, why does that teacher feel the necessity to tell me that one thing? Perhaps there is a deeper reason... I recently had the opportunity to attend two amazing concerts by 2 previous GFA winners (Guitar Foundation of America, one of the premier guitar competitions in the world), and I was astonished by how accomplished they were not only technically and musically, but also as artists. For context, I am currently pursuing my doctorate degree in guitar and I am currently at the height of my career in terms of knowledge acquisition and technical exploration on the instrument. I was fascinated by how these two guitarists were able to accomplish so much with an instrument that in my head is so full of obstacles. However, the conceited part of me did not see them as unearthly as I had in the past. I was able to follow their musical intentions, I was able to recognize their technical facility as they tackled technical hurdles, and most of all, I was able to see how they got to be where they are at the moment (some of the best guitarists in the world). I felt inspired by their performances because they made me realize how much it’s possible on the instrument, and how good it can get! I also felt enthused to realize that at this point in my life; I have gathered a lot of the necessary tools to accomplish a similar result… I drove home in a good mood, and super ready to start practicing and simulate that result. As soon as I arrived home from the concert, I picked up my guitar, and started playing some of my repertoire. Soon, I realized that the gap between me and them had suddenly widened so much more than I had anticipated. I sucked! And I tried and I tried, but I could not simulate a similar result. My lines were disconnected, I had strange accents all over the place, and most of all, I did not sound at all like I thought I did. I felt discouraged because even though I had that ideal in my head, and I knew the basic steps on how to get there, I was not able to do it… This was a great learning experience because I realized that most of the time when I play, I hear myself in first person, and this little moment when I started to listen in third person, I realized that knowing how something works, or how something can be done, does not automatically equal to being able to do or accomplish that final result. However, it’s a great first step, and I am glad that I have been brought back to earth and to reality so I can continue running and climbing this amazing road towards becoming a better musician and a better version of myself. Carlos Bedoya, 11/12/23 As always, enjoy some music while you read :)  The Supplement by Paul Rumsey If there are moments when I feel jealous of orchestral musicians, it’s definitely when I listen to Tchaikovsky. I would actually have a very hard time deciding between Symphony no. 5 and no. 6 as my favorite orchestral work, but as I write this, I am probably leaning towards no. 6. Considered by himself as one of his finest works (arguably his own favorite), Symphony no. 6 is an emotional journey that can take anyone from the most joyful moments to the deepest depths of despair and sadness. I have known this work for a while now, I studied it in music styles class in my undergraduate years, and since then, it has become one of my all-time favorite compositions. Every time I listen to it, I don’t fail to get goose bumps. The usual meaning that is given to this work comes from several music scholars that say that this work was composed as a suicide note. Although officially it is said the death was because of cholera, other sources suggest that Tchaikovsky committed suicide 9 days after conducting this work's premier. One cannot but wonder about its true meaning. Indeed, its tragic ending is a big surprise and a challenge to the usual last symphonic movement which is composed in a style that has all sorts of sparks, loudness, and brilliancy. Instead, Tchaikovsky takes us to the lowest register possible of the orchestra, and presents the theme one last time while the debilitating basses continue to lose their strength as if mimicking a dying palpitating heart. The first time I heard this work live was in a concert of the Columbus Symphony Orchestra. I remember being at the edge of my seat the whole time. It was an out of earth experience. The most significant part was definitely at the end. The excruciating pain Tchaikovsky must have felt was communicated to the audience. I teared up and I my mood changed for the rest of the evening. Music can really impact you and that way… It is one of those moments that you wish you didn’t need to clap, because it honestly ruins the moment. The conductor kept his arms up, the pulse of the bow caressing the strings is no longer there, you know what is happening but at the same time you don’t. It’s special, and these moments are what make music unique. Carlos Bedoya, 10/06/23  Cristina and I at the Camden Aquarium in NJ. “Te Conozco” (I know you) is one of the songs that never fails to awake deep feelings in my heart when I listen to it. I discovered Silvio Rodriguez early during the time I was learning how to play the guitar. I immediately fell in love with his use of harmony and his masterful combination between amazing music and deep meaningful poetry. Of course I spent a lot of time learning his most famous hits such as “Ojala” or “La Maza”. However, the song that always hit me the most was “Te Conozco”. It speaks about that one person who has always been meant to complete you spiritually and romantically. I remember always thinking about its lyrics and being marveled at the thought of someone being pre-destined for you. This song describes the love of your life, someone whom you know from your infancy, someone who even though you might still not know them, they are there, growing in mind and body close or afar. They are developing experiences, and shaping their personalities and lives for the moment when you finally meet each other. Even though this was already one of my favorite songs, it took a whole new level the summer of 2016. I had been dating Cristina for only 4 months, and she was back in Europe to spend the summer with her family. I was missing her so dearly, and I was listening to music in my room. The moment this song played, I immediately realized that this song had always been about her and about how since always, Cristina was meant to be the one for me. It was specifically during the part of the song that says: “Por eso cuando te vi, reconoci mi destino” – That’s why when I saw you, I recognized my destiny. I started tearing up and since there was a big time difference, I couldn't call her because she was already sleeping. Instead, I wrote down the lyrics, I translated them, and I sent them to her as a message. Of course, I also sent her the song. I still can see myself tearing at the computer while listening to this song and writing that message. “El lago parece mar; el viento sirve de abrigo, Todo se vuelve a inventar, si lo comparto contigo…” “The lake resembles the sea; the wind becomes warm shelter. Everything is reinvented, only if I share it with you…” Carlos Bedoya, 09/06/23  Unfortunately, I have always been a bit afraid of roller coasters. The first time I had a bad experience was when I was a kid when I was basically forced by someone to get into one because they were sure I would enjoy it. Nothing further from the truth! I was scared to death before, during, and even after. The experience was not only psychological, but I also felt that my heart was about to give out. I learned that some people simply have more tolerance to the physical effects of speed, motion sickness, and vertigo. I just happen to be one of the ones that is more sensitive to these.
A couple of weeks ago I visited Universal Studios for the first time (Orlando) and I was having a lot of fun with my family. I thought that I should try to get over my fear and try a fast roller coaster again. This time, I decided to search the web (again) for tips on how to lessen the effects of roller coasters. I anxiously spent the 90 minute waiting line on the internet, and found out several tips that seemed to be helpful. It was time to get on the ride! My heart was pumping really fast, and I was very anxious about the experience. I had already read that the ride goes faster than 50 miles per hour, and that I would experience forward and backward launches, and sudden vertical falls. I started trying some of the tips, and they were not helping... suddenly, I one of them started working! The tip said that the best way to counteract that gut-wrenching feeling is simply joy-hollering your guts back in place. To my surprise, it started working! Even though it was still a bit unpleasant, it was not as bad as I thought it would be. I actually enjoyed the ride. Granted, I was done for the rest of the day, but at least I now have the courage and an extra tool to combat that annoying feeling. Try it out next time! Carlos Bedoya One time I decided to search on the internet why do people get the hiccups... After a brief search, I found out that it is somehow related to breathing and the diaphragm (oversimplified). Before this, I had always tried to drink water backwards, or hope to be scared by someone at some point, but it never worked. So! after I read this, I decided to come up with my own solution. I tried different things until I found a solution that has worked for me 100% of the time! I call it the 3-minute sure solution to hiccups. All you need is a stopwatch and a place to sit up straight:
1) Take a couple of deep breaths in and out and make sure you slow down your breathing a bit. 2) Exhale all of your air out and then take a deep breath in and hold your breath for 40 seconds. At this moment, you may start the stopwatch. 3) At the 40 second mark, you can take a 10 second break in which you can prepare for a bigger breath in. 4) At the 50 second mark, hold your breath for 50 seconds (notice the 10 second increment). 5) This will take you to the 1:40 minute mark. At this moment, take 20 seconds to prepare for the last and biggest breath in. 6) At the 2:00 minute mark, hold your breath for 60 seconds (another 10 second increment). At the end of these 6 steps, you will find that your hiccups will be gone! (at least for me). Of course different people have different lung capacities, so you should find the numbers that work for you. These are pretty extreme for me (I find it hard to achieve), so you should find what this is like for you. In summary: Hold your breath for 40 seconds, rest for 10, hold for 50, rest for 20, and then hold for 60 seconds. I hope it helps! Carlos Bedoya  I am in the middle of changing my technique (again). And all I can think about is just how hard it is to play the guitar! One of the issues I explored today is changing the angle of my attack on the right hand fingers, I can alter the sound drastically, by simply bringing the top joint of the finger forward a couple of millimeters, I change from a flesh/nail contact to simply nail contact. Of course, if I want a finger attack that starts with flesh and ends on nail (the ideal), I would have to change this finger angle which by consequence also alters the wrist position and eventually the position in which my arm touches the guitar border. This is also very important because this point of contact with my arm is the center of balance for the weight of my whole arm resting on the instrument. If this contact is too forward (close to the wrist), I would have to tense up my shoulder so that my forearm doesn’t fall backwards onto the back of the guitar, and I would have little balance for my hand. If the contact with the forearm is too backwards (close to the elbow), then the point of contact of the string with the finger is not optimal and I would have to bend my wrist considerably to get a good contact with the strings. All of this is then heightened by the fact that everybody has different arms and arms’ lengths, fingernail shapes, and finger lengths. Standardizing technique on the guitar seems like an impossible task. In any case, a simple issue on the guitar can create a butterfly effect that affects everything else. To add to that, nails grow daily, and therefore, the angle of attack changes constantly from day to day… How am I supposed to solidify a technique that has to change almost daily? Carlos Bedoya, 06/09/23 Enjoy Marcin Dylla's magnificent playing while you enjoy reading my struggles :)  "Peter's Church" in Vienna- where this specific musical moment occurred. The Concert Choir was the “flagship” choral ensemble at Rowan University. Dr. Christopher Thomas graciously granted me entrance into this amazing group even though I am a classical guitarist and I do not have extensive formal training in voice. I enjoyed it immensely and have a lot of fond memories with this group. In 2016, we did a concert tour in Vienna and Germany with works by Mozart, Brahms, spirituals and several more. Our trip was just like I dreamed it! A fun ride to the NY airport, and a 3-isle gigantic plane (2 floors!), and sitting next to my singing peers. We arrived at the Ataturk airport in Istanbul around 5:30 am on June 28, of 2016. I ate a delicious kebab for breakfast, and hung out with the guys as we waited for our connecting flight to Vienna. Everything went perfect! We arrived in our hotels, we showered, and tried to wait until later at night so that we can fight the jet-lag and acclimate as soon as possible. The next day, we ate a delicious breakfast provided by the hotel and we were watching the news at the dining area… We were astonished to find out that just the day before, the Ataturk airport had just been attacked by 3 suicide terrorists who bombed and killed more than 40 people and wounded more than 200.
 It was a hot day in May in Somers Point, NJ and I was preparing to play in a concerto competition. Scott Breiner, a fabulous organist and choir conductor, graciously agreed to accompany my performance at the piano. We were taking a break from rehearsal and we started talking about choir music. There I was, a high-school senior not even in college, thinking that I was a choir nerd and discussing how much I loved Mozart’s Requiem. Scott was gentle and his music wisdom knew how to inspire me without letting me know how gargantuan was the path ahead of me. Scott talked to me about the magnificent Durufle requiem. He talked about chant, church modes, and who knows whatever else which at the time probably completely escaped my head… The one thing I do remember, and will always remember, is that profound explanation of the ending movement “In Paradisum”. He mentioned, the whole requiem ends on a dominant 9th chord! “Can you believe it!?” he asked me while staring at me with an excited face. I barely knew what a G7 chord was at the time, let alone a dominant 9th? I remember not knowing what it meant, but I do remember feeling inspired and fascinated at the facility with which Scott described music and how passionate he was about it. His passion sparked a flame in me… I listened to the work when I got back to my house, with headphones on, and became almost addicted to the mysterious sound of the organ as it combined with the gentle voices of the choir. And it resonated in my head, the words of wisdom that so fabulously describe this ending: “Does paradise exist? Can humanity really comprehend what comes after life?”. “In Paradisum, deducant te Angeli” - May the angels lead you into paradise. Carlos Bedoya, 04/05/2023 Visit Scott Breiner's Cape Shore Chorale Website below
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AuthorCarlos Bedoya is a classical guitarist from Colombia, living in the US. Archives
June 2024
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