XII
The student discovers that the answers they receive are generally not the answers they need. Then, they discover that the quality of the answers is governed by the quality of their questions. Sometimes, as a gift, they are given an answer to the question they should have asked. Sometimes, they are given the gift of no answer at all. Sometimes, they get silly answers.
The student discovers the value of analogy in the learning of the musical craft. What is melody, this sequential unfolding of the properties of one note? What is harmony? If melody unfolds horizontally, is harmony a vertical and simultaneous presence of this one note? What then is the harmonic series? One note generating a hierarchy of increasingly within relationships? Rhythm? Timbre? Time, tempo, and timing? Counterpoint? Tone? Tonality? Modulation? Tuning? Do I tune my instrument? The string is fine, the instrument is fine. What am I tuning? Concert Pitch? Which concert? Every concert? Or, some concerts? Why those concerts and not others? What standard is this? Who determines the standard? It is helpful to combine analogy with the notion of correspondence. The act of music is a creative act, and music is created according to certain principles. The musician is created according to the same principles. In discovering music, the musician is discovering themselves, which is as we should anticipate.
The apprentice, at first, sees the teacher as an Ideal Being, probably perfect. Certainly, almost perfect: this acknowledges the unlikelihood of perfection, and the presence of small imperfections which are not, however, discovered. Then, there comes this point of letting go of unnecessary efforts, whether muscular, or passionate, or in attitude. And the Ideal Being is released from their pedestal. In their place is the Imperfect Being, a hypocrite mouthing profound notions, making bold claims and failing in their life, thought, and feelings to match many of them. The teacher is released from the humiliation of perfection to the humiliation of imperfection. The alert student, seeing his teacher as an apprentice-teacher, sees an apprentice, the same as them, with the same struggle, and then a deeper relationship is possible.
The teacher’s power to help is exceptionally limited. It is a mistake for the teacher to believe that they can help the student. Nevertheless, although help does not come from the teacher, it can come through the teacher, providing the teacher is not in the way of that help. The erroneous notion that the teacher teaches is one way of blocking the help available from the craft.
The teacher has the protection of their role, the free admission of their ignorance, and their experience. The role provides the connection with the craft; the admission of ignorance is unarguable; and experience is undeniable. If in doubt, consult the hands: what do they do? What is the quality of sensation within them as the fingers move in a delicate coordination? What do I feel at this moment? What pattern is in the mind? What am I thinking about?
The craft is this distinctive quality, or recognisable force, within a tradition; all of the craftsmen within this craft that have ever been and will ever be; and all their acts of craft. The act of crafting is the craft. At this point, there is no distinction between traditions: all crafts are the same crafting, in the creative act of artistry.
