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The Genesis Party exists to enable creativity for all by assisting willing participants at an event in the co-creation of an original work of music. Here's why it is successful: 


 
Collaboration

    The music comes from the people. The more people, the more inspiration energy, the more fuel for the musical fire. Once it starts, the music plays through the P.A. the whole time. You can't help but to listen. As your friend is playing his trumpet into the mic, (the trumpet he played ten years ago in high school) you hear it along with the djembe part you recorded before him—and the sexy whisper your girlfriend recorded that made everyone get quiet for a second. In that moment, you come up with a great beatbox that's inspired by his trumpet part. That's the power of collaboration!
    Ideas are like electrons bouncing from one atom to another. When ideas collide, new independent ideas can form. Those ideas bloom and cause other new ideas to develop. A room full of ideas, singularly focused, is a very powerful thing and a major reason why the Genesis Party is so successful.

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Technology

    As you listen to every Genesis Party song created, (19 at the time of this writing) you'll notice one main theme throughout—they're all awesome! It is evident that the GP works at making great music and technology certainly plays a role.  
    At opposing ends of the musical experience spectrum, we have what I refer to as: "Ringers" and "Bangers". Ringers are the pros that mastered their instrument and likely many others; Bangers are people who, well,… bang. Most of us live somewhere in the middle. It's a great place to be. I have a friend, a banger-savant. When we jam together, it's like warp nine with a rubber band. We built the Genesis Party for all people that love making music. Not all people have dedicated the time to learn an instrument with enough fluency to make a song on their own. That's where technology and an experienced producer comes in.
    Reason, by Propellerhead, is a DAW (Digital Audio Workstation) that includes many virtual instruments, the ability to record audio from a mic or an instrument cable and a studios worth of effects, processors and mixing capabilities. One of Reason's greatest assets to TGP during an event is it's ability to edit, save, record, mix etc. all while in continuous play back. Not having to stop the music keeps the energy of the song going as everyone is taking their turn. It's also nice to hear how the song is evolving in real time. It also allows sound to bleed on to the recording, but that's my problem.
    As the event wraps and it's time to mix the song, Reason's editing and mixing strengths kick in. Time and Pitch correction become necessary tools when your goal is to end up with a song that everyone's ears can enjoy. One of the ways I "filter" the music (as I mentioned in the Nostalgia blog) is by correcting intonation and timing issues. If you sing or play your instrument out of tune, I will tune it. No disrespect. No judgement. I know how hard it is to sing perfectly in tune—trust me. If your rhythm is off, I will adjust it to make it work. My goal is to make what I would call an amazing song. I've learned that anything that stands out or distracts you from hearing clearly what's going on, detracts awesome points—and there's no fix for that. Those of you that come because you know you can bang away and I'll do my best to make it sound like it sounded in your head while you were banging—understand the Genesis Party. I've got the tools to do it.



"I love that everyone of you has music to share."

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Simplicity

    If I set out to make a song by myself and I focus, too much, on the end goal, I can easily get overwhelmed. I need to get a clear, general idea of what I want to produce and not get bogged down with all the details. Keeping it simple is my best way to keep it successful. 
    The Genesis Party has simplicity built right in. When a large group of people work on one song, the need for one part to carry the energy is abated. Each idea plays an important role in the whole and combines to allow for a complete work of music. Some people provide more or less content. If everyone's contribution is a complete, song-filling idea, it would make quite a difficult time for me in the editing room. Usually, there is more than enough content by the end of the night—varying from little blips of sound to four full verses and a chorus—to fill multiple songs.
    Another way simplicity rules is: when talent, practice and skill act to get in the way of a song. I'm a guitar player and believe me, guitar players know all about the ego when it comes to technique. I've practiced and practiced certain techniques to become "good" at the instrument. Cool, flashy licks can have an impact on people who think cool, flashy licks are cool. i.e. guitar players. I've often felt that after working so hard just to be able to play this cool technique, I should use it in a song for the sake of showing it off. Typically, it ends up making me and the song look amateur. Getting older, I listen for the song. The cool technique then becomes secondary (but still fun). 
    In contrast, GP Artists with a more elementary skill set will use a more universal approach to their contributions (rather than a super-skilled, master-wielder of their axe who has yet come to terms with their ego and plays all the highest notes as fast as possible). As young and/or novice artists make music at the GP, they, generally, have no concern for cliche. They end up making a melody, for example, that, without question, makes the most since for the song—the most obvious notes. I love when the girl—who may not even sing in the shower—gets to the mic and "doot-da-doos" a killer melody and then some girl she doesn't even know counters with the perfect, most fitting response—completely unrehearsed and brilliant. Stuff like that happens every time!
    In the past, I've limited myself severely for fear of the cliche. When my ego and I came to the terms that cliche is okay, it was like removing the lock from the treasure chest; where all my awesome, non-cliche ideas were trapped. Now, my goal for practice is to clear away all technical limits and promote creative fluidity.  I still enjoy improving my technique, I just use it differently. (In Fact—I've recently started practicing what I call a stream-of-consciousness music meditation where I set up a small P.A., my computer, interface, keyboard midi controller and my guitar and improvise an hours worth of music—with accompaniment—no rehearsed musical ideas, just me and some tools for creation and I'm doing it live for yoga classes and loving it.)



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Guidance 

    Here's where I (and hopefully one day, others) come in. It was Amy's inspiration that created the Genesis Party. She was inspired by watching me work. I'm a teacher, a musician and a producer. I form relationships with people around music and we learn a countless number of things—that may include music. Amy saw an opportunity for me making music with tons of collaborators—do what I love and make the most of all my talents. 
    She was also inspired by her desire to make her own music; without, so much, having to practice. She and I worked together, played together, fought together and eventually came up with the game that became the Genesis Party (we also make pretty awesome music together). The play of energy, between two or more people creating, is infectious and intoxicating. She gently guided me toward understanding the potential rewards of this project. It didn't take much persuasion. 
    At your Genesis Party, I am your guide. I'm your producer, you're the artist. Even the pros need producers. Having a non-judgmental, experienced ear to bounce ideas off of can set your creative energy into overdrive. You want to lay down a cool piano part and you don't know what keys will work for the song, we're there to help. Each person gets one-on-one time with me and there's always time to work something out. 
    People tend to feel comfortable around me. Making music, for some reason, is one of the most vulnerable arts. How often have you heard the story/metaphor of the songwriter who retreats to the cabin in the woods to finish his album? Peace is golden. A good walk in the woods helps to keep me grounded—sometimes I need a holiday. I tend to carry that, walk-in-the-woods, feeling with me so I can forward it to you as you're recording your part. It is important to be comfortable. It's my pleasure—it helps to reinforce the feeling. Making music can be scary enough without doing it in front of people; not to mention it's your personal creation, you're sharing. I'm there to facilitate your voice. I love making music. I love that everyone of you has music to share. You're there for the rush. I get it.
    


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Recent Posts

Hi, I'm Amy April 12, 2016
The Mahabhuta November 17, 2015
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Nostalgia October 1, 2015
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