"A Song That Found Me Again."
I just wanted to write: thank you.
Not for anything small — but for something that touched a very deep place in me.
I recently went through the challenge course “How to Write a Cover Song,” where Stephen explains how he covered What a Wonderful World. I originally joined because I wanted ideas for the current challenge of covering Would You Mind. But what I found was something I didn’t even know I needed.
When Stephen shared the story of his mother, her work, and the themes of babies being born and lost, it reached into a memory I had almost forgotten. Years ago, when I had a miscarriage, I remember being pushed through the hospital corridor on a bed — and What a Wonderful World was playing on the hospital radio. The contrast of that song with the pain of the moment stayed with me.
Hearing this song again, in this context, felt like comfort arriving after many, many years. It also felt like hope — especially in a world that feels so heavy right now, with wars, hatred, and so much misuse of power. This cover felt like it was meant for me. Like a small, gentle reminder that beauty still exists, even alongside grief.
Another thing that deeply resonated with me was something I’ve been missing in my own practice: the softer, more conversational side of playing. I’ve never been drawn to speed or volume as the main goals in music. And for a while, I wondered if I was somehow “out of sync” with the Masterclass approach.
But in this lesson, Stephen spoke my language.
He reminded me that music isn’t just about intensity — it’s about presence, touch, and intention. That realization brought me back to myself as a musician.
One small metaphor from the lesson stayed with me: the idea of the five musical gradients compared to our hand. The thumb — representing you — is essential. Without it, you can’t really hold anything. Technique matters, structure matters — but without our own personality, our own voice, music becomes empty.
There was also a beautiful reminder about humility when performing or covering someone else’s music. A composer who is honest lets the music flow through them. As performers, we enter into a conversation — not only with the music, but with the composer as well. It’s a kind of trinity: the composer, the performer, and the music itself.
That idea helped me see covers in a new light. It’s not about changing everything to prove originality. It’s about honoring the heart of the song while bringing your own truth into it. That’s why Stephen’s cover felt so touching to me — it was personal, open, and respectful to the soul of the song.
After watching this course, I find myself daring — perhaps for the first time — to bring my own vulnerability into the challenge of covering Would You Mind. I feel shaky. But that shakiness feels like a good sign. It means something real is happening.
And for that, I am deeply grateful.
With gratitude,
Mervi Tirkkonen
