Without our bodies, we could not play our instruments.


When I studied with Jean Ferrandis he would say that everything has a frequency, and we shouldn’t disrespect the natural frequencies. Meaning, for example, that if we blow way too much or too little we’re not respecting the frequency of the instrument. 


In the time since I studied with Jean, I’ve also come to realize that this also means we have to respect the frequencies of our body. 


I think about this concept a lot now. If we over or under use parts of the body in our playing, we will compensate somewhere else, creating tension, extra effort, and blocking resonance. 


If our body feels unnatural or is used inefficiently, it will translate not just to the way we sound, but also to our mind state. 


Elaborate briefly on movement benefits - concept from yoga of meeting yourself where you are. Perfect for building a warm up routine 


We’re all aware just how important exercise is for our health. At the root of it though, it doesn’t matter if you run, lift weights, hike, bike, or do water aerobics. 


Movement is what matters. 


There is an intersection here with yoga that I particularly love. Yoga encourages us to meet ourselves firmly where we are. It asks us to move with what we have, with acceptance and an understanding that we are not moving to change but to know ourselves better. It’s an approach to physical movement that is particularly relevant to playing an instrument. 


When we consider how our physical body impacts our playing, it is important to do so from this place of meeting. Meeting ourselves where we are, and understanding what we need.


Consider how it feels to play your instrument when you are in an optimum physical state - no tension, no restriction, everything is free and resonant. 


Now think about the difference when you feel tense. 


With those two different experiences in mind, imagine yourself performing. What happens to your body when you are on stage? Does your breathing remain free? Do you feel that familiar tension? Or, maybe something different happens entirely like shaky hands or dry mouth.


Most of us are intimately familiar with our physical ticks and habits as they relate to playing our instrument. Not very many of us have a regular movement routine that addresses our strengths and weaknesses as they relate to playing, though. 


Imagine the amount of concentration and brain power you could waste thinking about a tense muscle, or worrying you won’t get enough air in your next breath because your chest feels tight on stage. 


Not only do physical issues limit our actual performance, they limit our mind in performance. 


So how can you respect your frequencies? 


A good place to start is by simply noticing:

• Stand in a neutral posture and scan your body from the soles of your feet all the way to the top of your head. How and what do you feel?
• Still in that neutral posture, think about playing your instrument. Did thinking about playing change anything about your physical body?
• Pick up your instrument as if you were going to play. Scan the body again from the soles of the feet all the way to the top of the head. What changed?

Building a base level awareness of what’s happening in our bodies is the first step toward finding neutral and creating efficiency. 


I hope you’ll join me for the Warm Up to Flow workshop to meet yourself where you are, acknowledge yourself under pressure and identify helpful elements to add to your warm up to find your peak physical performance state.

If I don’t meditate - how could mindfulness become a regular part of my warm up?

Mindfulness and mindfulness meditation are huge, broad topics. There is a tremendous amount of information to digest. If you are a practitioner of mindfulness or mindfulness meditation you know that, like playing an instrument, it’s a slow and often internal journey that requires consistency and dedication. 

So how can we take these far-reaching concepts and pare them down to fit our specific needs as musicians, while still respecting these disciplines and what they have to teach us? 

As a practitioner of mindfulness meditation, I have a great appreciation for the amount of work it takes to meditate and grow a meditation practice, and for the ups and downs that come with such an introspective practice. 

However, the fundamentals of mindfulness practice are accessible to all of us, whether we are seasoned meditators or not. 

Conceptually, it’s not a far leap from the focus required to be a musician to mindfulness. We already have some experience wrangling the mind away from distractions so that we can get work done in the practice room and so that we can focus in performance. 

Even though as musicians we might be more mindful than the average person, I would guess that most of us still have plenty of distractions like self-critiques, concern about the judgment of others, or stress over the situation that bombard our experiences of practice and performance. Which is exactly why taking the time to address our mindfulness can greatly benefit our work. 

I would be remiss if I didn’t encourage the development of a regular mindfulness practice here. In recent years there has been a tremendous amount of research about how much practice, or how little, is required to make an impact. (Amishi P. Jha’s book Peak Mind is a great entry point, and suggests that about 12 minutes a day is all it takes to help create our peak state of mind more frequently).

But if you’re still skeptical, I understand. Most of us find the idea of sitting in stillness and silence with ourselves laughable.

As with most challenging undertakings, we need a relatable entry point. Something that is attainable, but also shows us the potential benefits. One of my favorite mindful practices is below. It’s short, simple, easily repeated, and never loses its impact. Even now as a more seasoned practitioner of mindfulness, I still use this one all the time.

Following the breath:

• Sit in an upright position that is not rigid. Take some time to settle into your seat
• Allow your attention to come to rest on your breathing without changing anything about the way you are breathing
• With as much detail as possible, follow your breath in and out
• When you get distracted, simply bring your attention back to the breath. Do this as many times as you need to.
• Try doing this for anywhere from 1 to 5 minutes to start (set a timer so you aren’t checking the clock constantly).

While at first this may seem like a breathing exercise, the breath is really just an anchor here. It is a place to rest our attention that doesn’t require any action from us. The breath provides somewhere to place your attention when you begin and when you realize you have become distracted again. It simply provides a resting place for your mind.

Try it out for yourself. Try not to judge your ability to follow the breath - that’s not the point of the exercise. Make sure you do this exercise a few times, for at least a few days before you pass judgment. Continue to note how you feel after each practice. 

There are many more ways to bring mindfulness into our warm ups and the way we approach our instruments. We’ll go in depth in the Warm Up to Flow workshop!

What does the breath have to do with finding a flow state?

Our health, both physical and mental, is deeply intertwined with our breath. Oxygen, quite literally, keeps us alive. Our breath circulates nutrients and removes toxins from our body. Science has backed up that breathing also stimulates our nervous system, specifically the vagus nerve, and can agitate or calm us depending on the stimulation. 

Anyone who sings or plays a wind instrument, enjoys long distance running, lifting weights, or practices yoga regularly understands the integral role the breath plays in helping us do some pretty amazing things from running marathons to performing concertos. 

Many of us, however, still don’t realize what an integral role our breath plays in our day-to-day sense of ease and the way we handle stress. 

It’s impossible to briefly state the impressive list of ways our breath affects us (I highly suggest reading Breath by James Nestor to develop a better understanding). So, to completely over-simplify, if we become participants in our breath instead of passive users, there is great potential for our overall health and performance. 

If you haven’t already gotten the impression that the breath can do impossible things, it’s also been shown that the practice of pranayama (one of the eight limbs of yoga) or other breathwork techniques can even help us rewrite neural patterns we have developed over time. 

It is common in our culture to over-breathe or breathe too quickly and rapidly, both of which are actually quite shallow. Mouth breathing is also wide spread. Both of these habits can negatively   impact our health and mindset, and while you would think most musicians would have a good handle on healthy breathing, how we function in real life is very different from how we play our instruments. 

Having gained just a little perspective on the major player the breath is in our overall wellbeing, it becomes easier to see how crucial it is for all of us and especially those in high performing or high stress situations to make sure their breath is working for them, not against them. Beyond that, learning how to use the breath to help regulate our nervous system and focus is something we all can and should do.

The absolute best thing about breathwork, though? We all breathe already. It’s something we can all do, with a tool that absolutely everyone has at no cost.

There are many types of breathwork, and you may have already learned some simple breathing exercises without realizing the potential scope of their impact. As with all disciplines, each exercise won’t speak to you, and it’s possible to find one that suits your specific sensations and needs but later connecting more with a different exercise. 

Box breathing is a common approach to learning how to meter our breath, extend our inhales and exhales, and build CO2 tolerance.

A simple box breath follows these steps:

• Breathe in through the nose for four counts
• Hold the breath for four counts
• Exhale for six or eight counts
• Hold for four counts
• Repeat several times

Another commonly used yogic breathing practice (pranayama) is alternate nostril breathing. 

Also known as Nadi Shodhana, alternate nostril breathing is a yogic pranayama (breathwork) practice known to help with stress and anxiety. The sanskrit name nadi shodhana translates to "subtle energy clearing.”

To try it:

• Sit in a comfortable position, somewhere you can focus. You want to be upright and alert, but relaxed. Close your eyes if you feel comfortable doing so. 
• Place the index and middle finger of the right hand on the forehead between the eyebrows, allowing the ring finger and pinky to rest on the left nostril and the thumb to rest on the right nostril.
• Inhale through both nostrils.
• On the exhale, close the right nostril with the thumb and breathe out through the left nostril.
• On the following inhale breathe in through the same side, the left nostril.
• When you exhale, release the right nostril and close the left with the ring finger and pinky. Exhale through the right side. 
• Breathe in through the same side, the right nostril. Close the right nostril to breathe out through the left, releasing the ring finger and pinky. 
• This completes the cycle, which always begins and ends on the left. Remember to always breathe in through the same nostril you have just exhaled from.
• Keep your breath even and gentle throughout.
• Repeat the whole sequence 3-5 times

You can test out both of these techniques for yourself - how do you feel afterwards? What changed in your mind or body? How does your breathing feel after trying these compared to before? 

We’ll explore several more breathwork techniques in the Warm Up to Flow workshop, and also how to discern what practice might best suit your individual needs and warm up routine as you build your way to a flow state. I hope you’ll join me! 

Anyone with hypertension, a history of aneurysms, osteoporosis, cardiovascular issues, or vision issues should consult a doctor before seriously undertaking breathwork.

I’ve learned a lot as a musician about anatomy, movement, mindfulness, and how our brains work, especially over the last two years since being trained in yoga and mindfulness meditation. These are endlessly fascinating topics to me, and they have completely rejuvenated my experience of being a musician and a teacher. As I’ve contemplated the connections between these topics and music making that could help my students, certain ideas stick in my mind as being useful for all of us.

One of those “sticky” ideas turned into my Body of Sound workshop, which incorporates movement into some of our standard flute warm ups with the intention of helping us understand what truly creates resonance in our sound, and how we generate our unique tone quality at a fundamental level.

Another idea that has truly stuck for the last few years combines my fascination with the feeling of playing when we’re in the zone and my experiences of struggling to find an optimum head space under pressure. The intersection of these two things? Warm ups.

When I decided to host a workshop online it seemed obvious to address this idea of warm ups, the relationship we know they have to the flow state, and how we can tweak our individual warm up to serve us best in our quest for an optimal mind state.

What is a warm up?

A warm up is the signal to your body and mind that it’s time to wake up and do what you have trained to do.  

Even for seasoned musicians, remaining in the moment during challenging rehearsals, performances, recording sessions, or even practice can feel elusive.

On top of this dodgy attention, we might layer self criticism about the fact that we’re not being more focused, accomplished, productive, or achieving. This self criticism is often not fully founded, but just another distraction. 

There’s more to it, though, than just being “distracted.” Have you ever considered whether it’s realistic that we expect ourselves to hop out of real life and straight into a hyper-focused rehearsal or practice session?  

We expect a lot from ourselves when it’s time to perform and spend hours preparing the music, but prepping ourselves for performance requires more than just learning the notes. 

It is possible to get into the flow state more consistently. Athletes do it all the time. Dancers. Popular bands and singers. High performing classical musicians and opera singers.

So what do they all have in common? 

Warm ups. 

Not the same one across disciplines, but likely the same principals, and above all the consistency of the warm ups they do.

These performers have found something that works for them and revisit it every time they need to be “on.”

It could be a conscious action like a particular muscle or vocal warm up, or an unconscious action like a tick (think of a baseball player who might always tap their shoe with the bat twice before batting). On a deep, subconscious level the performer relates this action to the task at hand. At the end of completing the warm up, their mind and body know what is about to happen and are primed for right effort toward the goal.

Creating a useful warm up is not unlike the habit stacking that James Clear discusses in his book Atomic Habits. It’s building incrementally on something that we know is successful and capitalizing on the outcomes.

In fact, the basis of this workshop was inspired by Clear’s writing on using a pre-game routine to get motivated. One of the best points that Clear makes on this topic is that when we are required to do something (like practice or rehearsal) so often there are bound to be days that we’re not motivated or focused. 

According to Clear, every action that is part of the pre-game routine matters (even how you put on the baseball glove, or, how you put your instrument together), and the routine should be done in the same way every time. 

From Clear’s perspective there are a few non-negotiables to this routine: starting with something so easy you can’t avoid it (like getting out your instrument) and following that with actions that move you toward your goal.

The first time I read about this pre-game routine, my mind instantly went to my warm-up. The methodical way I put the flute together each time I play, and the playing warm ups I repeat daily because they feel good, and effective. There was way more to it than I had ever realized!

So over the years after making this connection between pre-game routine and performance, I kept thinking about how it applied to musicians. How we all already warm up to play, and how it’s at least somewhat the same warm up each time we put the instrument together. Also on my mind was how performances went when I did and didn’t allow time to warm up in the way I like and know is useful. 

The next obvious question was, can we tweak our warm ups to be even more preparatory? 

Of course we can!

By way of our training we can identify what we need on a large (long term goals) and small scale (specific to the day) to be successful players. Our warm ups already naturally address our personal needs, strengths and weaknesses. For example, if I am feeling sluggish I will play something that really gets my air moving, or do some physical exercises. 

The act of warming up already primes us to be in the zone by the nature of its repetition, but based on what we know from self inquiry, we can actively prime the warm up to produce our optimum flow state.

Doing something like warming up without a plan can be helpful even if we lack a clear intention or goal. Similar to repeating a section in the music over and over without listening carefully, we might end up with some positive results but there is a better way to get there (and beyond) if we spend a little time in reflection prior to beginning.

There are three pillars of a musician’s warm up that can help us reach an optimum state of body and mind:

• Breath - breathing exercises related to our physiological state, not the length of phrase we can play
• Mind/Mindfulness - addressing things like attention, focus, and concepts like visualization
• Body - physical wellbeing, stretching/movement, warming up on the instrument

By addressing our strengths and weaknesses in these areas and exploring proven exercises, approaches to mindfulness, and specific physical aspects of playing we can discern what our individual "pre-game routine" needs.

I hope you’ll join me on March 5th to deep dive into your warm up. Using self inquiry and these guide posts we will each craft a unique warm up that is highly functional, repeatable, and can continue to be developed over time to meet our evolving needs.

A regularly updated list of books that are excellent for musicians, yogis, mindfulness practitioners, and humans.

Music:

The Music Lesson by Victor Wooten
The Flute Book by Nancy Toff
The Listening Book by W. A. Mathieu
Uncommon Measure by Natalie Hodges

Self Development for Creatives:

​The Practice by Seth Godin
Deep Work by Cal Newport
Essentialism by Greg McKeown
​Originals by Adam Grant
When: The Scientific Secrets of Perfect Timing by Daniel Pink
​Drive by Daniel Pink
Digital Minimalism by Cal Newport
In Pursuit of Excellence by Terry Orlick
Range by David Epstein

Mindfulness & Meditation:
10% Happier by Dan Harris
The Mindful Athlete by George Mumford
The Posture of Meditation by Will Johnson
Lighter by Yung Pueblo
Unwinding Anxiety by Judson Brewer
Peak Mind by Amishi Jha

Yoga:
​Eastern Body Western Mind by Anodea Judith
Wheels of Life by Anodea Judith

Miscellaneous:
Four Thousand Weeks by Oliver Burkeman
What I Talk About When I Talk About Running by Haruki Murakami
Breath by James Nestor

One of the most impactful skills mindfulness meditation can help us develop is a true exploratory mindset, but for many of us, and for a variety of reasons, it can feel challenging to cultivate an approach based in exploration.

Thinking in an exploratory way requires curiosity and an ability to detach from desired outcomes, which might feel unnatural. We grow up in a school system that doesn’t always encourage curiosity and uses testing outcomes to show value. We are performance and outcome driven in our society, and being a musician has the potential to make us even more so. 
​
Even though being a musician at its core requires us to be exploratory in getting to know our instruments and the styles of music we play in, it’s hard not to have an end result or potential accolades in mind. If you’ve ever given a jury in college, that’s the perfect example of where exploration and outcome lock horns.

If we encounter a limit or problem in our practice or daily life, we may immediately start to be hard on ourselves and judgmental. Perhaps we know how to fix the issue in our playing but can’t execute it just yet, or we can identify a conflict but not the solution. It’s easy to become distracted by the “right” or “wrong” way we’re approaching the situation, or by how much we do or don’t know.

When we start to assign quality or judge ourselves, the problem we’ve encountered is no longer a three dimensional issue that includes perspective, experience and prior knowledge, and exploration, but a very one dimensional view of what we’re doing correctly or incorrectly. Getting stuck ruminating on how we’ll get to a successful outcome leads to a shortsighted view of the challenge we’re facing.

Our gut reaction to gauge and label what we are doing wrong can feel so natural we don’t even question it, but it is less instinctual than you think. Our approach to problem solving is directly linked to the way our mind has been shaped by our personal experiences, education, and what the culture around us values. 

Our experience and culture based perspective was explained to me once as “conceptual baggage.” I think it’s the perfect way to describe how we unavoidably (and without any fault) bring all the messages we have received, perceptions we have built, and experiences we’ve had into each roadblock we face. 

The example that comes to mind so easily for me is when we’re doing something in our playing that no longer creates the desired result and we need to make an important fundamental change (think air use, embouchure, hand position, etc.). It can feel impossible for a time to release our old method, our critiques, our conceptual baggage, and yet slowly through perseverance and building new perspectives we are able to adjust and adapt.

We all have conceptual baggage, and it is also possible for all of us to bring more ease to how we approach challenges. 

The next time you encounter a frustrating situation in the practice room (or in life), rather than getting caught up in right or wrong or obsessing over the outcome, try encouraging yourself in an exploratory mindset by keeping the following in mind:

Ascribing meaning to something is an internal value - can you take a step back and notice what you are assigning meaning and value to? How does it make you feel to consider that the meaning and value could be different than what you assumed? What might they also mean to someone looking in from the outside? 

Harsh judgements we make about ourselves are not coming from our true self - they come from our judgement of how well we are doing something based on an outside metric and expectations that are often external. Could you view the task at hand without assigning good or bad? Could you see yourself with no judgement at all?

Holding something lightly is just a suggestion - meditation practices will often invite us to hold something lightly, instead of becoming attached to a feeling or outcome. Even this is an invitation, though. You can try it, but maybe just consider what it would mean or how it would feel if you could let go of the outcomes, even just a little. 

You don’t have to solve the problem. 

The awareness is enough. Knowing what you’d like to change, or even knowing how but not being able to execute it yet is ok - things need time to sink in, percolate, and come to life. What would it be like to sit with your awareness?

Taking a step back and challenging your view, looking at things from a new angle, checking your intentions, and encouraging yourself not to cling are just as valuable as fixing the problem. They create lightness and space around whatever it is we are dealing with, and that’s helpful for all of us.

One of my biggest pet peeves is the prevelance of “hacks” on the internet - both the type of person and the incessant shortcuts that are supposed to make things easy and effortless. The dictionary defines a hack as a “person who does dull, routine work.” Seems fitting for the endless internet articles about hacks for cutting avocados and streamlining our workflow.


Hacks play into our cultural desire for speed, efficiency and multi-tasking and our lack of attention and time for deep work. Any creative (and anyone who read Malcolm Gladwell’s Outliers) could tell you, though, that mastery takes time above most else. 


As my students begin their school year, especially those in college, I am acutely aware of how much is being asked of them. Students beginning their first year in a new building or location, like middle school, high school, or college, have an especially big job of acclimating to new social and learning environments. First year college students are learning to fully fend for themselves for the first time, and all college students are learning over and over again to motivate themselves without the help of their families. 


Anyone who is in school, and all of us who teach, are managing distractions. Our devices, social gatherings, that long lunch you’d like to have, etc. All of these things can zap time in an instant and contribute to the feeling of not having enough hours in any day. 


As I observed my students hit the ground running this week, I could already start to see their feelings of overwhelm when it comes to time management. How, exactly, is this all going to fit?


The answer is the opposite of a hack. An anti-hack if you will. It lies in perspective.


Look ahead
Pay attention to your schedule. Where are their gaps that can be used for meals? When are you in the music building with a break that could be used for practicing? The random pockets of time that occur in your schedule are key for productivity in school. Use them to carve out space for intentional deep work. 


Be aware of distractions
This includes your phone, iPad, laptop, Apple Watch, friends who are distracted practicers, and all the time you spend lamenting how much you have to do. Try to remain aware of what’s distracting you. Acknowledge those distractions, then forget them. Pick one thing to work on and get started. 


Keep your deadlines in view
Make a list of important projects, performances, tests, and other deadlines you have throughout the semester and put it somewhere you will see it often. This list isn’t meant to scare you. Use it as a reminder to do what you can now instead of putting everything off until the last minute. 


Find an honesty buddy
Everything is better with a friend. Find a friend who has a similar workload or schedule to you, and ask them to keep you honest. Have them give you a nudge toward what needs done if they catch you faffing (doing things in a disorganized way and generally not achieving much).


Make time for reflection
When it comes to perspective, reflecting on our habits and actions is the MVP. Debrief yourself each week - where did you overwork yourself? Where did you get a little lazy? How’s your sleep schedule? 


Have fun
It’s important to give your mind a break. Make sure you do things you enjoy that are unrelated to your work and studies. Much like sleep, doing fun, restful things allows our brain to process all of the other information it is managing.


None of these points on their own will miraculously make school easy, and they all take time to become habits. They might be a bit obvious, but they are not over simplifications. 


Learning is all about effort. You get out of it what you put into it, and gaining a little perspective goes a long way.

Last Friday I had the chance to perform the Mozart Flute and Harp Concerto. It was a transformative and rich experience, but the performance was just a small piece of the whole.

Side bar: There will be some backstory here, and it’s for slightly selfish reasons because I want to catalog this period of time so that I can revisit this experience later and fully remember the months leading up to this performance as well as the performance itself. If you’d like to skip ahead, I won’t be offended - jump to the bullet points further on in the post for the lessons I’ve learned that I think could benefit anyone preparing for something big.

The performance fell in the middle of an extremely busy summer festival, and an especially busy week and a half of performances. The run down went something like: Friday - Peter and the Wolf; Monday - Flute and Harp Recital; Wednesday - woodwind sextet performance; Friday - Mozart Flute and Harp Concerto; Saturday - Beethoven 5 and other pieces.

Whew. 

Now, I knew well in advance that I would be facing that timeline, as well as the repertoire I would need to have prepared. I had from roughly January to prep the concerto and late spring to prep the other pieces. It just so happened that I played Peter and the Wolf in March (on only a week’s notice!), so it helped to have that one fresh in my fingers.

What I could not have predicted was the fact that we would buy a house this spring (we were not planning on moving!), do some quick construction on our old house, and move all before the festival got here in mid-July. Add in hosting the first Flute Day at MU and a concerto with the MU Wind Ensemble, and it made for a wild ride in the first half of 2022!

Any one of these things could have completely thrown me in a tailspin not that long ago, but I had a few things working to my advantage. Like most freelance musicians, I have gotten good at learning music in a pinch. Years of filling in and jumping on board have made me confident in my abilities to make it work when I have to.

What that really equates to is squeezing in practice anywhere you can, because you have to. I took my flute on family trips or any time I was away from home for more than a day, squeezed in ten or fifteen minutes any time I could between lessons, and listened to the pieces I would be performing while I was painting walls during our moving and selling process. 

So far, none of this is earth shattering information - these are the regular things we do to prepare for performances when we’re busy. 

In this case though, I was preparing for an important performance of a concerto that is both famous and long (roughly 30 minutes), just a few years after a major run-in with performance anxiety/regular anxiety/stress. 

I’ve spent the last two years learning about why I feel nervous, what I can do before, during and after performances to help with that, and implementing that knowledge so that I am able to give a strong, confident performance that I can enjoy.

That’s no small order, no matter how much experience we have performing, competing in a high performance activity, or putting ourselves out there as creatives. 

There are many things that have helped me balance my time so that I can focus on what’s important, which include a willingness to say no to things that might be good (or less than good) but not great; getting enough sleep and eating well; hydrating; making time for things that help me unwind both physically and mentally (like yoga, reading, meditation, and family time).

But there are also some very concrete things that help me tackle feelings of worry and stress, concern about being judged, perfectionism in performance, and my ability to enjoy the moment that I know could benefit anyone who finds themselves in my shoes. 

I have to give credit here to a few sources that inspired most of the items in the following list - my teachers who planted pedagogical seeds that have grown into both saplings and strong trees, yoga and mindfulness meditation which have allowed me to begin to understand what it means to be embodied and not just in my mind, George Mumford’s Mindful Athlete course, and Terry Orlick’s book In Pursuit of Excellence. 

Here are some of the lessons that I’ve learned about trust and preparation:

• Move toward the danger: This was a phrase I heard used in one of my favorite podcasts in relation to doing the things that make us uncomfortable. It is not unlike the idea at the root of mindfulness that we need to accept the thoughts and feelings that make us uncomfortable. The application here is that if the idea of a performance makes you nervous or squeamish but you believe you can do it, move toward the danger! Commit to doing it and drawing out your skills and resources.

 

• Don’t aim to be perfect or to sound like anyone else: Perfection is a myth. I truly believe the saying that perfection is the enemy of good. If we are obsessed with playing the perfect version of say, Mozart, we will likely not play our best version of Mozart. Likewise, others can serve as excellent inspiration but we have our own voice for a reason. This leads me to:

 

• Capitalize on your strengths: I’ll lead with a personal example - I love to play Romantic era and Modern music, but not always Baroque, Classical or…Mozart. I am more at home in the colors of modern music than I am the ornaments and articulations of Mozart. Instead of stressing over this, I learned to be (more) comfortable by bringing my strengths with me and learning to love the rest. I could use my warm sound and control of color and timbre to sound like myself while getting better at the stylistic elements of Mozart. What could you bring to a challenging situation that has you written all over it?

 

• Know your preparation habits: Do you have a tendency to predict the worst? Are you a procrastinator? Maybe you just hate recording yourself? Make a list of the things you tend to avoid - not so you can berate yourself over them! - and then start with them. Do your least favorite thing first. In my case, I hate recording myself practicing even though it is endlessly useful. For this performance, I did that first. I recorded myself as often as I could. Sometimes I listened back, sometimes I didn’t. Sometimes I listened a week later. But as time went on it got easier and easier to hit record and then listen objectively.

 

• Mind your mind: Caring for your general well-being matters as much as anything when you have a big performance. This means training your mind in the months or weeks leading up to the event, but also how you manage yourself as the performance gets closer. I leaned hard on meditation and yoga to keep my mind and body balanced all the way up to the concerto. I also cut out caffeine, alcohol, and super salty foods for a little over a week prior, drank extra water, slept as much as I could and read lots of fluffy fiction to allow my mind a chance to relax. Listen to your body - you know what seemingly “regular” things can sabotage your best mind state.

 

• Practice Visualization: This one makes me chuckle a bit, because when I was nervous as a young performer my mom always told me to "visualize it" and I found it infuriating. Like, how could it be so simple? But you know what? She was right (of course!). There is so much research, primarily in sports, about how visualization can improve performance. I am still a novice at detailed, performance based visualization, but even in my limited experience it has been incredibly impactful. (Terry Orlick’s book is a great resource for this!)

 

• Learn from the good and the bad: Debrief after each rehearsal and performance. If it went poorly, what can you learn? What do you know you could implement? If it went well, don’t just say it went well - what made that happen? What actions did you take the created the outcome?

 

• Focus on the process, not the goal: Instead of creating a giant monster of meaning out of important performances, try to remember that they are a stop on your timeline - the culmination of things you have done and learned up to that point. I shared a reel on my Instagram reflecting on this in my preparation for this concerto, and I truly believe that we are what we think (mind your mind!) AND nothing happens all at once or in an instant. 

The most impactful part of this concerto performance for me was that I enjoyed the entire experience. I enjoyed being able to work through difficult practice days and remind myself that nothing is just right from the very beginning. I enjoyed visualizing myself in the moment and thinking about what my best performance could sound and look like. I enjoyed collaborating with the other musicians tremendously - what a treat after months of prepping alone. I even enjoyed feeling nervous on stage because I was able to see my thoughts and nerves for what they were - events, not facts. 

What I’ve learned over the last few years is that I’m not actually looking for perfection or virtuosity - I’m looking for balance. Balanced thoughts, balanced embodiment. And this time, I think I found a little of both.

I’m currently approaching the first weekend of a three week orchestra festival. Our first concert is tomorrow evening, and I get to play Peter and the Wolf as part of the program.

In the meantime, I’ve also been preparing for next week’s concerts because they include a flute and harp recital, a woodwind sextet performance, and a performance of the Mozart Flute and Harp Concerto. 

This three weeks in the summer is always intense, but this year is extra so!

As I was planning and packing, I was preparing to feel a consistent sense of tension and anxiousness just based on the sheer amount of performances I would have. Now that I’m here and settled in, though, I feel an overwhelming sense of calm. 

If I take a step back and look at it from a distance, it makes so much sense, and I feel it every year when I arrive. Although I have a lot of musical plates to keep spinning, my other usual life responsibilities have been temporarily taken off the table. 

I have as much time as I need to practice, I can spend time in quiet reflecting on rehearsals or visualizing aspects of upcoming performances, and if I want to listen to the repertoire I’m performing I don’t have to find a place to be isolated at home to do so or squeeze it in between lessons. 

The simplicity of my days here - a predictable timeline of commitments, having only the flute to really focus on (although I’m doing other work here and there), and even knowing exactly what and when I’ll eat creates an underlying calm that I appreciate so much surrounding these big concerts. 

Musicians, athletes and performers often talk about being in a flow state. Usually they mean a time in a performance or a game that doesn’t last for a long extended period where we are so engaged in the moment that everything else falls away.

Having access to this simplicity of lifestyle, even for a few short weeks, creates a sort of overarching flow state for me that makes it so much easier to get to work, go to bed early, and generally do all the things I wish I usually had more time for when it comes to practicing. 

Eventually, though, I’ll head home and back to reality (and I am always glad to do so when the time comes!). The question, then, is how do we create a little of this life flow in our regular day-to-day? 

I’m reminded of all the stories of CEOs who own only one type and color of shirt and the same with their selection of pants so that they never have to consider their outfits, or celebrities who eat exactly the same meals every day. I have to admit, that sounds a little boring to me, but I do love a good routine and maybe this is why.

It certainly could be that a key to creating this flow on a regular basis is consciously creating a helpful routine around the basics - groceries, taking our vitamins, knowing when we will sit down to do our deep work so that it’s easier to shut out the noise, etc.. 

What I’m experiencing for the next three weeks is the supersized version of this life flow, but it does serve as inspiration to find a little more space in my day to day life when I head home.

How do you create space to flow in your daily tasks?

Do you ever notice that when you are busy you somehow accomplish a wild number of things in one day, yet when you have all the time in the world it can be hard to get any one project done?

With deadlines looming or people counting on us, it becomes quite clear how we need to use our free time. 

I always thought that I was someone who thrived under a little pressure. As a student I would procrastinate just enough on papers and studying so that I would feel the pressure of my deadlines, and then I would sit down and crank out the work that needed done. 

In hindsight, what I was creating for myself were constructive time constraints. Knowing I only had two weeks until the exit exams for my Master’s degree meant that instead of sitting and chatting with friends over coffee I needed to study over my many daily caffeinated beverages. 

As a freelancer, this means that when I have a half hour break from teaching and there is a gig coming up I practice instead of faffing on the internet.

It turns out that  I don't have remarkable self control, I just have constraints. 

With summer just starting here and school finally ending for almost all of my students, I see them relax at the evaporation of the rigid constraints of school. They have space to sleep in, see their friends, go swimming, and get outside - all things that are necessary for kids who have spent so much of the year stressing over grades and standardized tests.

But as necessary as this space to play, daydream, and relax is, the lack of schedule often wrecks some havoc on practicing. 

I’ve made some adjustments over time to how I teach in the summer to help my students keep improving without feeling like I am sucking the spontaneity out of their time off:

We take a break! Each summer begins with a week off from lessons and ends that way, too. If you’ve been a student at any point, you know how special and bittersweet the transition in and out of summer can be. Add in the time I am away for summer festivals and conventions and we average a decent amount of lessons without the requirement to be present each week. 

I encourage creative practicing. During the school year most of my students squeeze their practice in during study halls or at night, but in the summer they can practice at whatever time of day feels right to them. Do they enjoy playing outside? Perfect for the nice weather and neighborhood enjoyment. Do they have a friend from school they could visit and practice with? Who says practice can’t be social sometimes! Do they hate sitting down for a full hour of practice? Divide it in half or thirds!

We have an end goal in mind. Although we are more relaxed in the summer, we’re still focused in lessons on moving forward in our skills. Having a recital at the end of the summer gives my students both an objective and something to look forward to. I make the recital on the same Sunday each year so that families know to plan for it well in advance. 

We play something fun. I have a fairly structured curriculum I like to use in lessons, and although I adapt it to each student, they don’t always get to pick their repertoire. In the summer, I encourage them to find pop music, movie music or write down a song they like by ear that they could play at our recital. Getting to exercise choice after school and standardized testing season can feel like a real treat. 

There are many applications of healthy constraints in our lives (personal boundaries being a great example) and in our practice rooms (using a timer and setting specific objectives for each session) but I was inspired to think a little differently about how constraints can help us by my old house and renovation projects.

​When you live in a historic home built in 1900 or before, there are quirks - odd sized rooms, rules about keeping certain historical features, and old wiring are a few examples. Sometimes it just isn’t possible to change the space the way you might think is ideal, but there is always a creative solution to make the best of the space you have. 

Having an old house is a lot like our playing and musicianship. The old foundation of how we’ve learned is there, but there is always a way to update the space and use our perspective and knowledge to make it better.

Our culture pushes make-your-own schedules, self-employment, and autonomy as the ultimate freedoms, but we’re missing the mark thinking that everything should be unbound. Healthy structures help us achieve our goals and enjoy the time we spend in work and activities. 

Remember that even if you can't change your schedule, you can always exercise control over how you spend your time. Even if it’s just deciding how to divide those thirty minutes of practice.