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While practicing music, I mentally take note of areas that sound good, passages that sound OK, and passages that need more work.
I try my best to be non-judgmental in this process as I am aware that excessive negativity can destroy; negative labels can impede my progress with mental blocks and psychological hang-ups. Studies show that there is a direct mind/body connection between what a person thinks and feels with how a person performs. The field of sports psychology, in fact, is entirely devoted to exploring and capitalizing on this connection to maximize an athlete’s performance.
Mental blocks of one variety or another can appear when least expected. Besides the occasional paranoia about my chops, the second biggest mental hurdle for me is remaining non-judgmental of musical passages or techniques that are “in the works.” This holds especially true when I am working out a passage for an event where I will be judged: a recital, a jury exam or an orchestral audition. Staying positive and constructive in this scenario can sometimes be a challenge for me – especially if the outside world creeps in.
Body Language and the Inner Voice
As a teacher, it is possible to almost read a student’s mind through observing their body movements while playing – their body language. A teacher may catch subtle, quirky movements that might indicate something is going on inside the student’s head. For example, I had one student that whenever she felt uncomfortable about something she was playing, she would twist her foot sideways. Another student would furrow his brow. Another would fall back in his seat after missing a note or two in succession.
When I ask them, “what was going on in your mind while you were playing that passage?” many respond that an inner conversation of some kind was going on in their heads. Something like:
“Here comes that hard part that I always mess up.”
“I hope I play this well.”
“Oh my – crash and burn – that was terrible! I better play the next part even better to make up for that.”
“!@$$# – I missed that too! That was awful. I really suck.”
“I’ll never get this right. I might as well give up.”
“If this keeps up, I will never succeed in music.”
For this reason, I like to practice in front of a mirror on a regular basis. Besides looking for a correct embouchure and good posture, I am also looking for subtle body language clues that might indicate an over-active mind.
Above and beyond this, when looking into the mirror I try to reflect an image of a musician who is poised, relaxed, strong and confident. In time, this reflection translates into reality.
I also like to use a recording device and record myself often. I recommend listening to the recordings a later time, as recording and immediate listening can encourage and feed the inner critic. By listening to recordings at a later time, I am able to separate myself from the horn and more objectively assume the role as a self-teacher, finding little things here and there that need extra attention.
“Brain Roof Chatter”
When asked to verbalize their inner critics out loud, most students do not even realize how harsh they are on themselves. So, this seems to be the first step in becoming more mentally self-aware while practicing or performing – realize, hear and listen to your inner voice. What is it saying to you? Why is it saying these things to you? Are these comments based in reality or are they hyper-exaggerated?
In the book, “Brass Wind Artistry: Master Your Mind, Master Your Instrument,” Paul Severson uses the term “brain roof chatter” for this phenomena. An overactive brain that “chatters” with extra conversations can not only impair the “ideal performance state” but it can also (over time) affect a player’s attitude towards music and other musicians.
Severson suggests a simple technique that I have adapted and modified. I call it the “stop” technique.
The Stop Technique
In performance, the mind should be “nowhere in particular,” as an ancient Takuan proverb advises. The trick is to catch that inner critic whenever it starts chattering and to “let go” of any anger, doubt, fear or frustration. Sometimes, this in itself can be a challenge: external circumstances might blind or delude a player as to what is really going on.
For this reason, I insist on a quiet practice space without distraction or interruption. I view my practice room as a sacred, revered space, similar to a dojo in martial arts training.
Years ago however, I had developed a bad habit of practicing my daily routine while watching television or reading online news. This method, I finally realized, diluted the efficiency of my practicing and blinded me to what was going on inside my head. When I stopped practicing in this manner, I noticed a substantial difference in my overall playing and attitude.
Other distractions might include: a loud, ticking clock, a buzzing light, a friend who steps into your practice room to socialize, bad room acoustics, or even traffic noise.
Less obvious are mental distractions – they can be difficult to catch. Preoccupations – worrying about bills, a girlfriend or boyfriend, or other life challenges – can be hard to shake off sometimes.
Whenever I catch myself mentally drifting or over-criticizing myself, I immediately stop playing, put the horn down and say the word “STOP” out loud. Sometimes I even visualize a large, red stop sign in my mind. This exclamation is made without judgment or emotion; it is merely a verbal tool to get my mind back on track. If in a practice session, I catch myself drifting more than 4 or 5 times in a row, I put the horn down for about 20 minutes and do something else for a while.
Why? Every human has a daily cycle of circadian rhythms (biological highs and lows that rise and fall throughout the day) and if I am in a moment of low mental energy, my time might be better suited doing something else other than music. Circadian rhythms tend to cycle every 20 minutes, so after that amount of time has passed, I pick up the horn and try again. Usually, the next practice session goes much better.
Focus on what you do well
The legendary martial artist and movie star Bruce Lee is a perfect example of how a mental giant can overcome physical shortcomings. I was a small kid and because Bruce Lee was a small guy that kicked butt (and we shared the same first name), he was my absolute hero. In one of my favorite books, “Zen in the Martial Arts,” the author relates a conversation with Bruce Lee on the topic of limitations. The author laments that he can’t kick over his head and how he was not as flexible at age 45 as he was at age 21. Lee responds:
“You will never learn anything new unless you are ready to accep
t yourself with your limitations. …You must accept the fact that you are capable in some directions and limited in others, and you must develop your capabilities. …I became a martial artist in spite of my limitations.”
To me this quote was a little surprising as Bruce Lee revolutionized martial arts with his stunning technique and artistry. Lee continues to relate that his right leg is actually one inch shorter than his left leg. He found that because of this he had a certain advantage with certain types of kicks, since the uneven stance gave him greater impetus. Lee was also limited in his height, he wore contact lenses, and had difficulty with the English language.
“I accepted my limitations for what they were and capitalized on them…Instead of trying to do everything well, do those things perfectly of which you are capable…The past is an illusion. You must learn to live in the present and accept yourself for what you are now. What you lack in flexibility you must make up with knowledge and constant practice.”
Focus on what you do well – this will help to keep your mind in the present and will keep the negative chatter under control. As Lee points out, the past is an illusion and thinking about past mistakes or triumphs pulls your mind out of the present and invites the judgmental critic into your thoughts.
This does not mean that you do not need to practice your weak areas. It means that as our strengths are discovered and improved, they come to outweigh our weaknesses.
Focus on what you do well and in time and with practice, your capabilities will exceed your limitations.
Recommended Texts:
- Collected Thoughts on Teaching and Learning, Creativity and Horn Performance
by Douglas Hill - The Mastery of Music: Ten Pathways to True Artistry
by Barry Green - The Inner Game of Music
by Barry Green, W. Timothy Gallwey - Brass Wind Artistry: Master Your Mind, Master Your Instrument
by Paul Severson - Effortless Mastery: Liberating the Master Musician Within
by Kenny Werner - Zen in the Martial Artsby Joe Hyams – one of my favorites!
- Peak Performance: Mental Training Techniques of the World’s Greatest Athletes
by Charles A. Garfield, Hal Zina Bennett
