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BRAEDON HOFMANN

musician-teacher

Humans have an annoying tendency of insisting on labels and neat little boxes, and the arts are no exception. As for music, it is always refreshing to come upon a musician who honors the foundation of the masters yet opens his heart to innovation, and it is a joy to find Braedon Hofmann—accomplished guitarist, lutenist, arranger, composer, vocalist, teacher, and performer forging new paths as he passionately pursues a Masters degree in lute. His unique interpretations of Pachelbel and The Beatles are pleasantly surprising and fresh as rain in the stagnant pond of predictability.

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Like many gifted artists, his muse came at an hour of physical and spiritual crisis, and now he richly demonstrates the fruits of his journey thus far. With a deep appreciation for Led Zeppelin, a raptor’s intellectual swiftness, and a head full of copper hair Vivaldi would be proud of, Mr. Hofmann is clearly a rising star. It is my pleasure to profile him here at Inspiration Speaks—here he is, in his own words, that offer us insights into both music and life. Be sure to check out the endnotes/links to view him in performance*, listen to and download some beautiful music on SoundCloud, and show your support on his Facebook page. (*Recommended quick link: his joyous musical snippet, Canaries. )


Enjoy!

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Q: When did music first speak to you and how were you moved by it?


A: My first impressionable interaction with music was with listening to the Sarah Brightman and Michael Crawford recordings of Phantom of the Opera. Particularly, the song Masquerade “hide your face so the world will never find you”. I was moved by this because of a complex and complicated adolescence.

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Q: Do you remember the moment when learning music shifted to playing music—when the joy outweighed the work?


A: When I first started learning the guitar I was immediately disappointed and disenchanted. I remember putting the guitar in its case and sliding it right under my bed for a few years. When I picked it up again, I had just experienced a drastic leg surgery and was bedridden, the guitar became my comfort and solace. The moment learning became playing was during this period when I took the opening “riff” from Sweet Child of Mine by Guns and Roses. Each morning I told myself that to have a good day I had to play the riff three times “perfectly” in a row. Obviously, this was difficult in the initial stages but with perseverance, patience, and ultimately Will… learning became playing.

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Q: As a young man whose dedication is teaching and playing classical music, what about our current music scene frustrates you? And on the other hand, what inspires you?


A: One of the biggest detrimental setbacks that I witness to the advancement and future of classical music is the delineation of “fine arts” and “pop art” in addition to the stoic approach to this remarkable repertoire from times past. Opera and Symphonic audiences are dwindling into obscurity and nonexistence while they continue propagating their own demise from wearing outdating, “Victorian” era garb (tuxedos… really?) and being stalwart with programing and instrumentation. I look towards the past for reference but there was a time when innovation was a dominating force for the music that is now treated like a funeral dirge.

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Q: Imagine yourself in the Renaissance—a musician as you are now, being painted by one of the most famous artists of the day. How are you portrayed on the canvas?


A: Very interesting thought. I would probably be a fairy or naked cherubim plucking my lute into the eternities.

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Q: If you were not able to hear music ever again, what 3 pieces or songs would you listen to and engrave into cellular memory so you would never forget their beauty?


A: Lacrimosa by Mozart, Ciaccona by Bach, and Stairway to Heaven by Led Zeppelin

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Q: If you could perform anywhere—even where it’s impossible logistically—where would it be and who are you playing for? What time of day is it? What is surrounding you? What instrument is in your hand and what are you playing?


A: I would be onstage at Woodstock playing in the late evening (not so hot) surrounded by all the smells and sounds. The instrument choice would vary as it is simply a medium for expression.

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Q: What was the most negative experience you have had as a musician and how did you overcome it?


A: The most negative experience with music that nearly broke my Will was the misconception of “perfection”. Perfection does not exist. Yet, many teachers and parents propagate the toxic idea of practice makes perfect. Practice makes progress.

 

Q: What is your greatest internal struggle as a creative man?


A: The desire to communicate and express but limited in my capacity to do so.

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Q: When teaching, what is your greatest satisfaction and what type of student is the most challenging? What is the most important thing you wish to teach your students?


A: Teaching is always just raising awareness and problem solving. My greatest joy is seeing a child overcome whatever problem was hindering progression. With over 40 private students, I would have to say that the most challenging student are the ones who do not truly want to learn. Want and Will are very different. Want is like fancy while Will facilitates Want with necessary action.

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Q: If the answer to life is secretly encoded in the notes of one piece of music, for you, what piece has all the answers?


A: Physics, philosophy, and theology will all eventually boil down to vibrational frequencies in an infinite cycle of exponential progression. In this regard, all music is secretly encoded with the answer to life! If I had to answer, I would say Lateralus by Tool.

 

Q: What habit have you relinquished or adopted that has made you an even better musician?


A: This is a difficult question as everything, including myself, is in a constant state of change. I have gained beneficial habits and detrimental habits. Many of which I may be completely unaware of in the immediate moment but upon reflecting in hindsight will be utterly dismayed. I would say that an underlying benefit has been the realization that music does not exist in isolation within a vacuum but rather an organic and constantly fluctuating medium of perceptive realization.
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