If Dr. Brown's quote above doesn't resonate, maybe you're playing it too safe in life. You're in the Comfort Hazard: failing to reach beyond your comfort zone, or worse, heading into a challenge completely unprepared. Time to get moving. At some point, those who accomplish their goals must throw caution to the wind, leave results behind, and focus hard on doing what they feel called to do in the way they've been called to do it, win or lose. Which feels risky. None of us can escape life's risks, and win. There isn't a golfer out there, even a Mickelson or Choi, who hasn't wound up in a hazard of some kind at the worst possible point in the game. How do some find the courage to dig out, and go on to win? Those who not only believe in what they're doing, but believe in themselves enough to stay in the game, figure out where they've gone wrong, and fix it. We can all be that person simply by reaching beyond what we feel comfortable doing, and working through the inevitable mistakes when they happen. Are you preparing for an audition or perhaps getting back into a regular routine, and finding irritating issues creeping into your sound? Like grit, for example? If so, you're with me in the Stiff/Unresponsive Chops Hazard. How did we get here? Probably by increasing practice time without balancing our practice regimen. For some of us, this happens about a week before the audition or recital, but it can happen anytime we lose balance in covering all the fundamentals of the game. I know because I've done it so often that I'm intimately acquainted with the dimensions of this hazard. I've gotten pretty good at digging out of this one. There'll be no winning from this bunker so, making a mental note of the balancing concept which keeps us clear of it, here's one way of chipping out once we're there: Try soft buzzing/playing for an entire day's practice rather than forcing and pounding through the excerpts or the next solo. Thompson's Buzzing Method is a great resource. Try exercises 1-4; and wait. Wait until all tingling subsides. This is VERY important. Your chops became unresponsive because of trying to go too far too fast. This tingling equals healing. Blood is circulating in and out bringing oxygen in for strength and healing, and taking lactic acid build-up (the cause of stiffness and grit) out. Oh, and did I say soft? Soft is key.
After the lips are free of tingling, but still warm, proceed to exercises 8 and 9. You can combine these two but keep it light and soft. Any light buzzing from any source alternating with playing will work. Schlossberg is excellent. Also Bona's book, "Rhythmical Articulation" is extremely helpful. It may take two or more days if you've worked yourself deep into this bunker like I have. The first day, stay in the middle register only. On day 2, expand range to include higher notes above the staff while remaining relaxed and always soft. Prepare to be amazed at what two or three days of this will accomplish if you have the patience. In fact, it's so good for promoting control, you might want to do it even when you're not needing it to get response back. It builds incredible strength and control. Another pitfall in audition preparation is the one I call the Confusion Hazard. Perhaps you've been playing for so many different people in order to prepare for the audition that you're confused by all the great advice out there. Maybe some of it doesn't jibe with what you've been taught by your main teacher or it conflicts with something said by another. If you're stuck in this bunker, you might want to reach out to your main teacher, and ask for help sorting priorities. A good teacher will want to weigh in on any confusion, and mentor you through it so that ultimately you learn something from the experience. In order to avoid this hazard in the future, stick to "tried and true" professionals, i.e. ones who have proven track records preferably in major orchestras if such professionals are within driving distance. Or a student of such a professional. Local players have great ideas, but these ideas may or may not have been tested under long-term exacting circumstances. In addition, they may include "in progress" or experimental approaches. They may even have studied with a teacher who took a completely different approach than the person you've been studying with for several years. Any of those scenarios can create confusion. With all that said, keep in mind that there are established professionals who give quirky advice, too, so it pays to be deliberate in choosing who to play for rather than just anyone who will listen. When in doubt, ask your teacher. Chances are s/he knows the person and their approach, and can provide a frame of reference should confusion arise from their advice. Golfing demands, as does music performance, a fully engaged mind. No rote thinking will win the game or audition. It's a waste of time to fling yourself at something without adequate preparation, and hope for the best, no matter how talented you may be. The same holds as true for winning a golf series as it does winning an audition. Take care to stay focused and clear about why you're reaching for a particular goal. Avoid over or under preparing, stay balanced, and avoid confusion. But even if you land in one of those bunkers, you have some tools for working your way out, and on your way to a successful conclusion to your efforts. Finally, get in the game, whatever that may be for you, and seriously work at it. For more help with the mental inner game, try one of the "Inner Game" books. Here is a source for books on the topic by trusted professionals. Hope to see you in the game. Comments are closed.
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GlendaI'm a trumpet player and music teacher aiming in this blog to help other Trumpeters, Music Enthusiasts, Music Educators, and aspiring professionals reach their highest potential in life through the study and cultivation of musical skills. Music Education
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