preparing for performance, dr. d. workman

8/13/2019 Preparing for Performance, Dr. D. Workman

1/3PERCUSSIVE NOTES 52APRIL 2002

BY DR. DARIN WORKMAN

This is the second article of a three-part series on Preparing for Perfor-mance. This particular part deals

with preparing emotionallysomethingthat is difficult to describe in words.Some would argue that emotions donthave a lot to do with performance, andthat emotional preparation would be asilly thing to consider. Perhaps we canchange that opinion.

Playing with emotion consists of being

all therein the momentby focusing onwhat is happening in the music andwhere it is leading. Emotion plays an im-portant part in any area of performing,and particularly in music since it trans-lates into energy and mood. Emotionalpreparation is often overlookedby the amateur musician, but isthe center focus of the experi-enced one. Many times, it is thevery thing that separates thetwo.

Learning the music is a diffi-cult enough task in most cases,

but polished performers will gothe extra mile to understand thefeel of the piece. Often they try to findthe mood that gives the music an emo-tional impact. Most people have beenstrongly moved at some point by a power-ful performance, but few can explain howto truly do it.

In fact, most musicians perform foryears without realizing the strong emo-tions they are conveying to the listeners.For many, it is a natural process that isnever given a second thought. I find thatmost musicians cannot explain the emo-

tions that are behind the music they play.You can really reach people, jazz greatJoe Morello told me recently; sometimes,that is the only way to explain it.

Some say that the ability to expressemotion through music is a gift, and oth-ers claim it comes with maturity and ex-perience. Lets touch on emotionalpreparation for those interested in per-forming with greater emotional power.

Note: The concepts in this articleshould be combined with those in the ar-ticles on mental and physical prepara-

Preparing for PerformancePart 2: Emotional Preparation

tion. While mentally and physically re-viewing the music, the emotions shouldbe incorporated. This way, the full feelingof the music is reviewed rather than justthe movements. In most cases, the time

just prior to the performance (1560 min-utes) is the time to become emotionally intune through quiet meditation.

As mentioned in the previous article[Feb. 2002 issue], preparation for a per-formance may begin months and some-

times years in advance, depending on thelong-term goals. Emotions play a part ina musicians life even before the first per-formance, and they can have both posi-tive and negative influences. Positiveemotions can bring the greatest musical

satisfaction, while negative emotionsmay result in performance anxiety at theworst level. For this reason, control overemotions is very important. One canlearn to gain control of emotions andchannel them.

A COMPLEX ISSUE

Success in life is determined to a largedegree by our ability to harness physical,mental, and emotional energy. Of thesethree, the least understood and the hard-

est to achieve is the emotional aspect.The most taxing issues the mind dealswith are usually emotional in nature.Many believe that this difficulty existsbecause resolutions of emotional prob-lems are very personal and ambiguous.

Music is emotionthe universal lan-guage. It crosses all lines and all barri-ers, and touches all people, says Morello.

As drummers and percussionists, wemust strive to feel the emotion that thecomposer felt when the piece was writtenand be able to reproduce that emotion

during performanceusually repeatedtimes. A musician cannot convey what heor she is not feeling. In order to get themost out of a performance, one must beemotionally in tune with it.

It is easier to express an emotion inmusic if that emotion has actually beenfelt. Since most people have experienceda myriad of emotions to one extent or an-other, the challenge lies in bringing theseemotions to the surface and conveying

them clearly to those listening.Many people pass through emotional

situations in life without experiencingthem deeply. They close their mind toprotect themselves and miss the fulltaste of the emotion. If one becomes cal-

lous to emotional experiences,there is very little to draw fromwhen the time comes to reproducethose emotions. Each experience inlife should be valued, savored, andremembered.

INTERNAL AND EXTERNAL INPUT

Emotions are affected in two ba-sic ways: through internal input

and external input.Internal input involves thoughts gen-

erated from within the mind. Manythoughts come to us when the mind iswandering. But we can control what themind ponders with some planning andvery little effort. Many feel that beingable to control thoughts is an integralpart of preparation. Having an outlinedand consistent routine just before goingon stage is common with many musi-cians.

External input has to do with the kindof environment one is in, conversationsengaged in, people associated with, andmusic listened to. Create the environ-ment needed rather than just leaving ev-erything up to chance. A person may notbe pleased with what chance provides.

I recall one drummer who didnt getalong well with one of the singers in hisensemble. She would become very emo-tionally excitable just prior to a perfor-mance. After a couple of conflicts withher, he decided to diffuse the situation.

In order to get the most out of

aperformance, one must be

emotionally in tunewith it.



He made sure that their paths didntcross any more than necessary the day ofa performance, and he also tried to keepthe conversation light and brief. By doingthis, he prevented the derailing of his

emotions and was able to give more to,and get more out of, each performance.

Drummer Steve Smith says, I try toavoid conflict on the day of a perfor-mance, but if I do experience some con-flict, I try to get over it early in theperformance.

On the other end of the spectrum, Iknow a percussionist that calls his wife

just prior to a show in order to channelhis emotions and rid his mind of excessclutter.

Environment is one thing you can con-trol with a little planning. But even in

the best situations things can still gowrong, and musicians learn, in time, notto let it affect their professional life. Pro-fessionals in any area (athletics, busi-ness, music, acting, education, etc.)achieve greater heights by channelingemotions than by having emotions ma-nipulate them.

A FEW IMPORTANT POINTS

The emotions are closely tied to themental and physical condition. For ex-ample, if you are physically tired, emo-tions are more easily riled, and if one is

mentally drained, it will be difficult toemotionally respond. Usually, it is muchmore difficult to concentrate on the per-formance when you are tired. The sameis true if the mind is tired from being toobusy. In order to get the maximum from aperformance, save the maximum physi-cal, emotional, and mental energy for useduring that performance. The informa-tion on rest discussed in the previousarticle is very important in terms of emo-tional preparation. If you are not pre-pared mentally or physically, it can beemotionally disturbing.

Nutrition has a strong influence onemotions. Some things to avoid are heavymeals two hours prior to performance, al-cohol, tobacco, excess caffeine, and recre-ational drugs (how many careers havebeen lost to this one!). More on this isdiscussed in the next article, which willdeal with physical preparation.

Interpersonal relationships also have astrong pull on emotions. It is importantto be careful with whom one associateswhen trying to emotionally prepare (asmentioned above). This can have an in-

tense positive or negative emotional ef-fect.

24 HOURS OUT

Emotional preparation becomes more

important as the performance approach-es. Twenty-four hours out, the most im-portant thing is to avoid any additionalemotional challenges. Should anythingoccur that detracts from the music, learnto put it aside and deal with it after theperformance, if at all possible. Rarelydoes an issue have to be dealt with imme-diately.

Overall, avoid being weighed down byheavy emotional challenges just prior toperforming. They can be completely over-whelming, making it impossible to focusyour full attention on the performance.

Avoid opening a Pandoras Box of emo-tions until after the show. This usuallyensures a better performance and allowstime for pondering the issue before ad-dressing it.

4 HOURS OUT

This is an excellent time to begin flood-ing the mind with things that set themood for the show. The emotions shouldbe in the same attitude as the music tobe performed.

It helps to focus the mind on experi-ences from ones personal life that gener-

ate those emotions. These penetrate themost deeply, since they were actually ex-perienced first-hand.

Music, written material, and/or filmcan usually set the proper mood. Al-though they are second-hand, they cantrigger the memory of a personal experi-ence. You can surround yourself with avariety of options to use in triggeringvarious moods.

I remember one show we did in a col-lege touring band that included some dif-ficult fusion tunes. In order to get myselfin the right frame of mind, I would listen

to tapes of artists that inspired me. Onother occasions, when I was called uponto perform music I didnt like, I wouldflood my mind with it in order to gain anappreciation for it.

1 HOUR OUT

Many musicians prefer to be alone dur-ing this period to reflect on the musicwhile they warm up. This is the time thatthe physical, mental, and emotional as-pects all fall together just prior to a per-formance. Steve Smith says, If I am

prepared physically and mentally, then Ican go on stage being comfortable and re-laxed emotionally.

Many musicians feel that the hourprior to a performance is the time they

get it all together. It is important that allof the parts of this series of articles areused as one because it is impossible toisolate the mental, physical, and emo-tional states. Theyre all connected.

Morello encourages, Focus on whatyoure doing, and go out and be perfectlyrelaxed. Be aware of whats happeningaround you. Be aware of the other musi-cians, and support them as a team.

CONCLUSION

Emotion in music is understood by fewmusicians and articulated by even fewer.

Preparing emotionally is mostly done farin advance by learning your instrumentand feeling confident on your instru-ment, says Morello. In this way, playersgain confidence that helps them channeltheir emotions.

Music is fun to play and listen to, butthe true joy in music results from fullyexperiencing the emotion that music cov-eys. It is the emotion that grabs theheart, making music an addiction of thebest kind. It is the frosting on the cake,the punchline of the joke, and thememory of the performance.

Darin Dutch Workmanis a doctor ofchiropractic practicing in Kingwood(Houston), Texas. He works with per-forming and sports related injuries. Heholds a Bachelor of Human Biology de-gree and is a Certified ChiropracticSports Physician. He has authored nu-merous injury and prevention articlesand presented workshops, and he is chairof the PAS Health and Wellness commit-tee and a member of the Performing ArtsMedical Association (PAMA). As a drum-mer/percussionist of over 25 years, he

continues to be active in performing andteaching. He can be reached by e-mail [email protected]. PN

Shop Online at

www.pas.org

preparing for performance, dr. d. workman

Documents