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Matt Roberts' Music Blog

Showing posts with label nerding out. Show all posts
Showing posts with label nerding out. Show all posts

Thursday, June 21, 2012

How To Convert Two Images Into One PDF

After my Going Paperless - Reading Music Off A Computer post, I've had some request for a more detailed explination of how to create PDFs. This tutorial will assume that you are using Windows 7 and have installed the free Nitro PDF Reader. This example is going to involve combining two image files, but more or less the same approach would work with any program that has the option to print, such as Sibelius or Finale.

Okay, so let's say I have scanned a two-page chart, creating two separate image files. I want to convert these two seperate files into a single two-page PDF file so that I can read the music easily on my computer. Here is how I do it.  For this example, I will be combining two pages of a chart called "Airport Ghost".

Since there are some unnecessarily margins around the images I want to use, I need to crop that out so that the music will be as large as possible on my computer screen.  If your images do not have any unnecessary margins, or if you already cropped out the margins when you scanned them, you can skip these steps.

Steps to crop unnecessary margins:

Step 1. Right click on the first image and select Open with/Paint

Step 2. Hit Ctrl-PgDn until you can see the entire image. (Ctrl-PgDn is the shortkey for zooming out.)
Step 3. Click on select and select only the neccesairy part of the image.

Step 4. Hit Ctrl-Shift-X which will crop the file to only what you selected.
Step 5. Hit Ctrl-S, which will save the file. Exit Paint.
Repeat steps 1-5 for each image with unneccesairy white space around its border.

Steps to make two images into a single PDF:

Step 1. Find the file for the first page. Right click on it and select Open with/Windows Photo Viewer.

Step 2. Hit Ctrl-P. This will bring up the print window. Set the printer to "Nitro PDF Creator 2 (Reader)" and make sure "Fit Picture to frame" is not chceked, but "Full page photo" is selected.  If you are planning on viewing the PDF on a 10.1" screen (such as an Acer Aspire One netbook) then you will want to set the page size to "legal" so that it matches the aspect ratio of the screen better.

Step 3. Click "Print"
Step 4. The "Create PDF" window will appear. Choose a directory and File name for your PDF. In this example I am going to make a PDF called "Airport Ghost - Concert.pdf". Click on "Create".

Step 5. Nitro Reader will automatically open, showing the PDF you just created. Close this window (very important).
Step 6. Repeat steps 1-3 for the next page.
Step 7. When the "Create PDF" window will appears, double click on the file you created in step 4. A dialogue box will appear warning you that the file already exists, and asking you if you want to Append, Overwrite, or Cancel. Choose Append.
Step 8. Nitro PDF will open showing the image files have now been converted into a single PDF file. If you want to add more pages, close Nitro PDF and repeat steps 6 and 7 as needed for additional pages.

Update: A friend has informed me that this whole process is simpler on a Mac:
To join two or more pdf files together using Preview (the standard pdf viewer in OS X) simply open the first pdf file in preview, open the thumbnail view (Shift-⌘-D), and then drag a second pdf file ON TOP OF an existing page  thumbnail. The two documents will merge into one. A little grey double border appears indicating the documents will be merged. Then save the new combined file. Read on for step-by-step instructions. 

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Wednesday, June 13, 2012

Going Paperless - Reading Music Off A Computer

You may have read my earlier post where I detailed how I constructed a trailer to transport my double bass and amp via bicycle.  Now I'm continuing this geeky green revolution by moving away from printed music, towards reading music off of my laptop. In this post I'm going to explain some of the technical side of how to do that, and discuss the pros and cons of going paperless.

Hardware

The first question is what you are going to read off of.  I was originally considering purchasing a tablet computer such as an Android tablet, a tablet PC, or an iPad (probably the most desirable option).  The lure of a tablet computer would be that they lie flat, they have touch-sensitive screens (making it easy to make notes during rehearsals), and they are generally very portable.  However, once I realized that I could just turn my little "notebook" computer that I already owned sideways, I decided that worked fine and it wasn't worth it to me to purchase a tablet computer. (Incidentally, these "notebooks" are really cheap. Mine is an Acer "Aspire One" which is currently selling at FutureShop for $269.)


One important tip: be sure to modify your power settings so that your computer doesn't go to "sleep" during your performances. While I was at it, I also edited some of the advanced power settings to make my computer work better as a music reader.  This screenshot shows how to do that on my netbook with Windows 7 Starter (sorry Mac people, everything that follows about software is going to be pretty Windows-centered):


The next piece of hardware I needed was a foot-pedal to allow me to turn pages.  I found three on the market: the AirTurn ($129), the PageFlip ($79.95), and the Foot Page Turner ($59).  They all seem like they would work fine.  The Foot Page Turner works via USB and I'm unsure if it would work with iPads or Android tablets. The AirTurn and the PageFlip both work via Bluetooth. The Pageflip comes with a USB Bluetooth antenna in case you want to use it with a computer that does not have Bluetooth (such as my Aspire One). I decided to go with the PageFlip. It is working fine so far. It seems a little on the flimsy side; I'm concerned that it could break after a year or so if I'm not careful with it. Also, it isn't 100% silent; in extremely quiet passages in very intimate settings, the audience might hear it (the AirTurn advertises that it is totally silent). The bluetooth takes a bit of fiddling around with at first to get it working, but I think it is worth it to avoid having unsightly wires going from the pedal to the computer. I haven't had any problems with the connection since I got it working. All in all, I'm pretty happy with my purchase. All these pedals are available from Kelly's Music, which has a Canadian shipping center in Mississauga. My pedal arrived in two days. Here is what my whole set up looks like:


Software - Viewing The Music


The next question was what software I was going to use to view the music with.  There is a program specifically designed for reading music on your computer - MusicReader ($59). It has some cool features, but I didn't go for it. My main complaint is that MusicReader wouldn't allow me to rotate the screen (this wouldn't be a problem on tablet-style computers that have screen rotation built in). Instead I found a free solution the: Nitro PDF Reader.  One tip with it: if you are going to load a full set of music at a time, it is good to use shorter file names, so that they can all fit in Nitro's sidebar while in full screen mode, making it easy to switch from one song to the next.  Here's a screen shot from my recent gig with Circles:



Nitro reader allows me not only to view PDF files, but also to easily make notes on them if I need to, for example in a rehearsal. Nitro also has "QuickSign" feature designed to allow you to stamp an image of your signature on to legal documents. I hijacked this feature to allow me to easily add musical symbols if need be. All I did was import a collection of images of musical symbols as "signatures".  Click here to download a zip file containing the images I used.



Software - Formatting the Music For Reading On Computer

Finally, I had to think about how to prepare some music to be read on computer.  How this is done depends on what the source of the music is - a program such as Sibelius, an existing PDF on my computer, or a physical piece of sheet music I need to scan.

Using a program such as Sibelius

One of the drawbacks of using my particular notebook was that the aspect ratio of the screen (my notbook has a 10.1" screen) doesn't match closely with a standard 8.5x11 sheet of paper (I think the iPad screen dimensions would be better in this way). So, to take best advantage of my screen, in Sibelius I go to "Document Setup" (under the Layout menu) and change the paper size to "Legal (8.5x14")". While I'm there I also set all the margins to 3, except for the left margin, which can be zero. I also make sure the staff size is at least 7. Here is a screen shot showing this:

Before I print it, I also set the chord symbols to at least size 15. (Easy to do by simply clicking Edit->Filter->Chord Symbols.)  Sometimes I may also check for repeats that cross pages and reformat the layout accordingly. When you are reading music off of a computer, page turns stop being a problem, but repeats across pages become a drag, because then you have to keep flipping back and then forward again.

Then, I just click print and set the printer to "Nitro PDF Creator 2 (Reader)". This "PDF printer" came along automatically with the Nitro PDF Reader when I installed it (see above under "Software - viewing the music"). Be sure to click on the "Properties..." box next to the printer name and then click on the "Pages" tab, and set the "Page size" to "Legal".


Formatting a file that is already a PDF

I can read any old PDF file on my notebook, but I sometimes want to remove the margins, which makes the music bigger and thus easier to read on my screen. I found a handy free app to do this with called PDFill Free PDF Tools. Just use the crop function to remove the margins. This tool also allows me to rotate the PDFs, which saves me having to do that each time I load them into Nitro PDF to read them.

Scanning music into the computer

When I'm scanning the files, I'm careful to crop out all the margins. I also may change the settings to increase the contrast a bit to make it easier to read. Then, take each resulting image file, and print it using the Nitro PDF Creator 2 PDF printer using the process mentioned above for Sibelius (again, in my case, I'm sure to set the paper size to legal to match my screen dimensions). In order to incorporate several image files in to one PDF (such as with a multi-page chart), just "print" to the same file name again for each additional page. You will be prompted to append, overwrite, or cancel. Select "append" to make the image you are currently printing the next page of that PDF file. (Note: some scanners come with software that allows you to scan multiple pages into a single PDF file all it one step.)



Pros and Cons

So! After that is all done, was it worth it? Well, there are pros and cons. Here is how I see it:

Pros:
  • Page turns are no longer a problem - never again miss a bar because you had to stop playing to turn the page.
  • Easily keep charts organized - no more sorting through a stack of messy paper to find the chart you need, only to realize it is an old version in the wrong key. It is easy to keep stuff organized inside a computer.
  • Have a library of all your charts on your laptop at all times. Easily send any chart using e-mail - along with any notations you may have made at the rehearsal.
  • You can have a library of PDF fakebooks at your finger tips at all times, in case you get requests. (Be sure to buy hardcopies as well to support those music publishers!)
  • Notes on charts are more neat, in full color, and you can easily delete re-edit them, rather then having charts covered in scrawl from different versions and arrangements. Easily create multiple copies of a chart to record notes about different arrangements. 
  • Extremely easy to read in the dark - with no need to bring a stand light.
  • Never worry about the wind, vibrations, people, etc. knocking your music off the stand.
  • Uses no paper - better for the environment.

Cons:
  • You have to scan and/or format all your music for the computer- time consuming.
  • Music is smaller (on my screen anyway) and therefore harder to read.
  • Adds more potential technical problems to your gig - e.g. laptop running out of battery power.
  • My screen sometimes reflects glare from lights, requiring me to adjust the angle.
  • Screen may be difficult to read in direct sunlight.
  • If you had to sub out to someone who didn't have a set up to read music electronically, you would have to make a paper copy of all the charts (or loan them your set up?).

Final Assessment

Making page turns easier is a huge advantage. I recently did a big band recording of Cherokee that was eight pages long with virtually no breaks.  I'm not sure how I would have done it without my new set up - I guess I just would have had to memorize the whole chart. Having my charts organized is also a huge plus. It saves me from being the guy at the rehearsal with his charts all mixed up, crumpled, and/or lost.  The biggest con is just the time investment of processing and formatting all the music.  However, printing and taping music can also be a hassle. The music being smaller on the screen vs. paper is a slight concern, but it hasn't really been a problem. Overall I'm extremely happy I made the switch and I think it is a improvement.

Let me know if you try going paperless as well, or if you have any questions about anything mentioned here!

Back to MattRoberts.ca.

Friday, July 15, 2011

Bicycle Trailer for Double Bass & Amp

Update March 2013: This has become by far the most popular post on my blog (1229 views to date), so I edited it a bit, and added some new information, since I've now been using the trailer for almost two years. I and my trailer were recently featured on the Dandy Horse Magazine Blog


First I Had To Get The Nerve To Try It...

The idea of transporting my double bass and amp by bicycle was first proposed to me by my older brother Malcolm.  Everyone in my family is very pro-bike, believing it to be the solution to many of our society's most pressing problems: air pollution, global warming, lack of exercise, depleting oil reserves, traffic congestion, depression, etc.  Additionally, there are many other, more self-interested reasons for biking, such as avoiding traffic & parking hassles (especially abundant here in Toronto) and the cost of car ownership. However, my brother sticks out as a bicycle fanatic even among a family of bicycle fanatics, having spent two years biking around Eurasia pulling all his worldly possessions behind him in a "Bob" trailer.  Perhaps because of this, I remained wary of hauling my beloved instrument around Toronto's streets by pedal power.

However, about a month ago I was jamming with my buddy Chris Butcher, and he told me there was already another bass player doing this in Toronto.  I later heard about a second.  Once I realized that it was working for someone else, determined to give it a try.

Then I Did Some Internet Research...

I began searching the internet to see if there were examples of bike-based bass transportation that I could study before designing my own. Indeed there were! Check out this Portland band who did an entire west coast tour transporting themselves and all their gear - including a double bass - by bike. Apparently in Copenhagen, where bikes are much more supported by city bylaws and civic planning, and have therefore become much more a part of the culture, it is the norm for bassists to get around using cargo tricycle style bikes. (Of course here in Toronto, thanks to our astonishingly and infuriatingly stupid new mayor, Rob Ford, we have just decided to actually remove several bike lanes, at a cost of over $200 000.)

My main concern in the trailer design was the safety of my instrument; also, I wanted a trailer that would haul my amp and any other gear I might need for a gig.  Those cargo-tricycles start at well over $1000 here in Canada, and go up from there. For these reasons, I ruled out the cargo-tricycle idea.  My search turned up some other unsuitable designs. (Searching for "bike bass trailer" turned up a lot of bikes rigged to pull huge sub-woofers.)  Notable was John Teske's "Haulin' Bass Project".  A bassist/composer out of Seattle, he used a Kickstarter campaign to raise $1000 to have a bass trailer custom built for him, attracting considerable media attention along the way.  I found another design I thought might work, but I felt I could do better still.  I decided I would buy a flatbed trailer and then customize it to suit my bass.

I was originally going to buy the Surly Bill Trailer, but decided against it when I found this would cost something like $1500 in Canada.  Then I thought I would get the Bikes at Work 64A, which would cost something like $650 after shipping.  Finally I found a company from Guelph Ontario - Wicycles - which sells a DIY custom trailer kit for only $129, with $10 shipping in Canada. If you are going to make a WIKE DIY trailer, I would also recommend checking out this post and this post, both WIKE trailers built by other bloggers.

Then I Came Up With A Design, Ordered Some Stuff Online, and Started Building!

Above is my "blueprint" design. The amp fits snugly into a wood frame, and is secured by a strap.  The bass is held on three sides by aluminum poles.  The neck lies on top of the amp.  Two more straps secure the bass at the body and the neck. (I wish I had made the strap for the neck closer to the point where the neck contacts the amp; I think this would put less strain on the neck.)

This image shows in more detail how the amp is secured. You can also see a bit of the 1"-thick foam padding for the bass in the bottom right-hand corner.
The kit shipped to me in one business day. It was actually extremely easy to put together. Their YouTube video shows the entire assembly in under 11 minutes, and it didn't take me much longer. (Although their website states the contrary, my kit included all the 1/4" x 1 3/4" bolts and lock nuts.) I was able to purchase some of the 1" square aluminum tubing from Home Depot, but they only carry tubing up to 4 feet long.  For this trailer I needed up to 6 feet.  So, I ordered the longer pieces from Metal Supermarket, a chain across North America. They cut everything to my specifications for free, and had next-day delivery for only $10.  If you can, get tubing with 1/16" thick walls. 1/8" is excessive and will only add weight to your trailer.  I also ordered a large sheet of 1/8" thick aluminum for the base. I wanted something stiff to attach things to, but again this was probably excessive and definitely added weight. 1/16" aluminum or 1/2" plywood would probably have been fine. At first I put the wheels at the balance point, which is near the front of the trailer.  However, this caused the back of the trailer to scrape along the ground, so I had to move the wheels further back.

After several afternoons pondering, sawing, drilling, and making trips to the hardware store, here what I created!


Here is an approximate tally of the costs involved in building the trailer:
Wike DIY Trailer Kit: $140
Metal from Metal Supermarkets: $220
Reflectors & flags from MEC: $35
Misc stuff from hardware store
(bolts, handles, short tubing, lumber, replacing broken drill bit...):
$80
Approximate total: $475


A Few Tweaks and Notes...

At first I thought the hitch was a weak point of the Wike Trailer.  Both the Surly and Bikes-At-Work trailers had tougher-looking hitches.  I added a safety to the hitch (I think a safety was supposed to be included, but wasn't in my kit), so that if it breaks in traffic, I should be able to ride the whole thing long enough to get out of trouble. However, after two years of use, the hitch is holding up well and I am much more confident in it. I have wiped out while towing this trailer on one occasion (slipped on streetcar tracks in the rain) and the flexible hitch kept the trailer upright and my gear safe, even as I hit the pavement.

This shows how I attached the flags by drilling a hole at the
bottom of each side pole for the bottom of the flag pole to go
into, and then drilling two holes at the top of the side poles,
 passing a zip tie through those holes, and then making a loop
that the flag poles can slide through.
The only real way I think I my bass could be damaged while transporting it by bike is if it were hit by a car, so I added reflective stickers, a flashing light, and a flag.  A few months later I added two more flags (for a total of three) as well as lights on either side. However some drivers just don't look out for bicyclists, even bicyclists hauling trailers with a million flashing lights, so I make sure to keep my head up and look out for cars, especially at night.

This shows the anchors and spring-loaded clip-ons.  I colour-coded
the anchors and clips so I know which straps go where.
I decided to use cambuckle straps; if you use these, it is important to get ones with spring-loaded clips on the end, to ensure they don't giggle free of the anchors en route. However, even when I have forgotten to tighten the straps before leaving, the aluminum poles have still kept it firmly in the trailer.

Initially I thought that if it rained, I would cover the bass and amp with a blue tarp.  In practice I found the tarp very cumbersome to work with while loading/unloading the gear in the rain.  I have since purchased a heavy-duty snowmobile cover at Walmart for $60, which has a drawstring to draw it tight around the bass, and packs easily into an included stuff bag.  The amp would be covered with a garbage bag.  I haven't had the opportunity to try this, but I'm optimistic that it should be pretty manageable, and sufficiently protect the bass in mild weather.  If the roads are wet at all, it is also important to have a rear fender, otherwise you get the bass case all dirty because your back wheel sprays it with mud.

I would estimate that the trailer, amp, and bass, weigh about 80 pounds combined. When I'm going on flat ground, it isn't too hard - I've gotten up to speeds of 25 kph. However, going up hill is a tough slog, especially if it goes on for more then a block. Of course, downhill is a treat!


Using The Trailer - Two Years and Counting!


I've now been using this trailer for almost two years.  I've used it year round in Toronto, Canada - which means I've even hauled it through the snow.  It has become my preferred mode of transporting my bass (although I do still use public transport or car sharing when they are more practical).  I feel very confident that my bass is safe while it is being transported - usually it doesn't even go out of tune. Also, it is just very convenient - it only takes about 15 minutes to load, I can breeze past traffic, and I don't have to worry about parking or catching a cab.

Cheaper/Simpler Alternatives

I'm really hoping another bass player will follow my lead, and build a trailer like mine.  So far no one has, but please let me know if you do! If anyone in the Toronto area would like a trailer like this but doesn't feel like they're up to the task of building it, I'd be happy to build one for you for the cost of materials + $25/hour.

There are also some other cheaper and simpler alternatives if you don't need to haul things as large as a double bass. Wike also makes a number of pre-assembled cargo trailers, starting at just $99 that might work for electric bassists, guitarists, or anyone with similar loads smaller than a double bass.  Check out this trailer for hauling a drum kit (Max Senitt tells me he bikes his drums to gigs using a trailer occasionally). Or, check out this YouTube video that explains how to use a hand-truck as a trailer by connecting it to your pannier rack with an old bike tube (you should be able to get a used tube for free from any bike shop).  I borrowed my dad's bike and hand-truck while I was home in Edmonton, and used this set up to get to two gigs in the Edmonton Jazz Festival with my Eminence semi-acoustic bass and a small amp. It worked very well.

Backstage at the Edmonton Jazz Festival - the rest of the band had to park blocks away!
Got to go now... I have to load my trailer up for another gig!

Back to my main site, www.mattroberts.ca

Thursday, April 14, 2011

A Shout Out To All The Music Theory Nerds

(I'm not sure how many "clicks" I'll get with that title, but what the heck...)


Page from "Be Here Now"
I've always liked certain chord progressions in modern jazz, and I felt like there was some common thing that I liked about them, but I didn't understand what it was.  I wanted to figure that out, not only due to general curiosity, but also so I could improvise over them better, and use those harmonies in my own compositions.  The result was an essay I did as part of my masters degree at U of T, analyzing two compositions by Canadian-born trumpet player/composer Kenny Wheeler, and two composition by my friend and Circles-bandmate, pianist/composer Hayoun Lee.  The essay was titled "The Flimsiest of Screens: Moving Beyond Traditional Harmony In The Music of Wheeler and Lee".  The title is a reference to a quote by the American philosopher and psychologist William James which I had read in the book "Be Here Now".

Our normal waking consciousness is but one special type of consciousness, whilst all about it, parted from it by the flimsiest of screens, there lie potential forms of consciousness entirely different. We may go through life without suspecting their existence, but apply the requisite stimulus and at a touch they are there in all their completeness.

This is an analogy for me about key to understanding this particular type of harmony I was interested in: it was just taking harmony we were already familiar with, and adding just one or two more elements to create a whole new effect.  I made the point that "The comparison is not entirely metaphorical, since music with different harmonic languages will inspire different states of mind, and vice versa."

Anyway, I was pretty happy with the approach to analyzing this new harmony that I ended up with.  Modern harmony feels less mystifying to me now.  I think it is an approach that is practical for the jazz composer and/or improviser.  In jazz, it is very important that we can "hear" a chord progression, but what do we mean by this? I would contend that one of the main things we mean is that we are aware of the voice-leading. So my analysis centers around that - both with scales and chords.  I like the idea I came up with of thinking of scales as having a kind of family tree, where the modes of melodic minor are related to the modes of the major scale, and the symmetrical octatonic scales are related to the modes of melodic minor through "splitting" one note of the melodic minor scale, and the wholetone scales are related to the modes of melodic minor through "merging" one note in the melodic minor scale. Anyway, now we are really getting nerdy.  Read the whole essay if you are sufficiently interested.  There may be a few small factual errors remaining in it. If you find one, let me know, you win a special prize!

If you want to listen to the compositions analyzed in the essay, here are some YouTube links to the Kenny Wheeler tunes:

Gentle Piece
Everybody's Song But My Own

As for the Hayoun Lee compositions:

"Pegasus" is the first song that loads when you visit Circle's website.
To listen to "Autumn Dance", check out our bandcamp page.


Back to main blog page.

Thursday, November 4, 2010

On Consistency, Winning Races, Zen, and Seinfeld Calendars

It's a cliche for teachers to emphasize it to their students: practice a bit every day. Fifteen minutes a day is better than two hours once a week. Slow and steady wins the race.  Consistency. 


Despite this, it wasn't until I started keeping track of and analyzing my own practice habits that this idea really hit home for me.  Of course I had already fully accepted the idea that if I wanted to get better, I'd have to spend lots of time practising.  (Perhaps you've heard of the 10 000 hour rule?) In order to motivate myself to practice more, I started keeping a spreadsheet of how many minutes I practiced each day.  This was a useful exercise, both motivationally, and in helping me understand my own habits.  The most glaring thing was that if I completely missed a day, it was very likely that this would start a streak - I would miss several days, in one case an entire month!  If you add to that the advantage of allowing your mind to absorb information gradually over several days, rather than in one intense session, it became obvious that focusing on practising at least little bit everyday was the best use of my energy.  Consistency was the key to increasing both my total practice time and effectiveness.


Soon afterwards, I became a cliche myself and started emphasizing consistent practice with my own students.  My new strategy for getting them to practice was to ask them to just take their instrument out of its case and play one note, everyday. If they wanted to do more, they were welcome to, but that was all that was required. I hoped that if I could instill in them this simple habit, they would begin to actually practice on their own.  I even went so far as to read a passage from "Zen Mind, Beginner's Mind", one of my favourite books, to one thirteen-year-old student:
If you lose the spirit of repetition it will become quite difficult, but it is not difficult if you are full of strength and vitality.
Several months later, I heard about  what has come to be called the "Seinfeld Calendar".  According to legend, the key to Seinfeld's success is that he has a giant wall calendar, and if he spends some time working on material, he marks an X on that day with a big red marker.  The idea is to get a chain going, and then "Don't break the chain."


I was smitten.  I enthusiastically set up not one, but four "Seinfeld calendars" - for practising bass, for composing, for exercising, and for meditating.  There are even more things I would love to have calendars for - practicing guitar, ear training, listening to music with full attention, promotion, reading a novel, etc.  However, I rightly guessed that just these four things would already be a lot for me.


My Seinfeld Calendars worked smashingly; for about two months I hardly missed a day on any of the four things.  Composing was a tricky one - it was hard to be creative when I felt I wasn't in the mood.  But I still found it encouraging, because at least I was dealing with "Oh my God, why can't I write anything?" rather than "Oh my God, I haven't even sat down to compose in weeks!"  I feel that with thoughtful, consistent effort, I'm working through the issues that come up; without my calendars, I might not even be getting to the issues. I set the bar pretty low - if I did even a little bit, I got my X. Eventually I decided to make the system more complicated - a black X if I did even a little bit, a blue X if I did a certain amount - for example, 45 minutes of practising or 20 minutes of meditation.  And a unicorn sticker if I got blue X's in all four things.  I was very into getting my X's.


Then one day, trouble came to my productivity paradise.  I was feeling very stressed - despite working hard everyday, it seemed my to-do list had been growing all week.  I was up late trying to get my "X" for composing, and not getting anywhere.  Finally I decided to give myself a break.  Forget about the "X" for a day.  I immediately felt so much better that I knew it was the right decision.  I took the next day off too.


I felt better, but unfortunately it also meant the start of a streak of not composing/exercising/ practising/meditating! And I chose those things because doing them keeps my life working the way I want it to work.  So, now I've realized the pros (increased productivity) and the cons (increaseed pressure) of the whole Seinfeld Calendar thing, and I've made an informed decision to get back on it. I'm loving it all over again. Also, in writing this blog entry, I've realized how self-obsessed the whole thing is. What a journey. I need to get out more.  Maybe I should make a calendar for that too?


P.S. If you want to try a Seinfeld Calendar of your own, but are low on wall space, this guy made a PDF that fits a whole year on one 8.5x11 sheet.


P.P.S. What is your trick for being productive? Would you give the Seinfeld Calendar a try? Leave a comment!

Link back to main blog page: www.mattroberts.ca