MURR MCL TCR aL Oc Audition An Olympic Sports Psychologist Teaches Performing Artists How to Win Don Greene, Ph.D.Advance praise for Don Greene’s Audition Success *“Audition Success is a must read for all musicians seeking professional careers.” Julie Landsman, Principal Horn, Metropolitan Opera Orchestra. Faculty, The Juilliard School Testimonials from Don Greene's former students “Dr. Greene is a wonderful teacher. His words of wisdom are always insightful and illuminating. Audition Success really opened my eyes toa new way of auditioning and musie making. It’s an indispensable tool for any musician.” Tom Sherwood, Principal Pereussionist, Allanta Symphony Orchestra “Before working with Dr. Greene, I was too often preoccupied with the ‘whatif’s’ while I was playing, However, through his methods of centering and visualization, among others, my concentration and sense of focus has sinee drastically improved my performance on many levels, This book is a ‘must-have’ for anyone who wants to beat their own mind games!” Julia Pilant, Principal Horn, Syracuse SymphorAlso by Don Greene, Ph.D. Fight Your Fear and WinAudition Success An Olympic Sports Psychologist Teaches Performing Artists How to Win Don Greene, Ph.D. ROUTLEDGE New YorkPublished in 2001 by Routledge 2g West 35th Street New York, NY 12001 Routledge is an imprint of the Taylor & Francis Group Copyright © 2001 by Routledge Printed in the United States of America on acid-free paper Design and typography: Jack Donner All rights reserved. No part of this book may be reprinted or repro- duced ot utilized in any form ar by any electronic, mechanical, or other means, now known ot hereafter invented, including photocopy- ing and recording or in any information storage or retrieval system without permission in writing from the publishers, Library of Congress Cataloging-in-Publication Data is available from the Library of Congress ISBN: 08783012146Contents Foreword vii Introduction 1 1 The Profiles 9. Eighty Miles per Hour Brian Meets Bob 2 Process Cues 25 Breathe A Training Diary 3 Centering 39 Ninety Miles per Hour Seamless 4 From Your Center 57 The Hub of the Wheel Warm Air and FloatIL Getting Better 77 Sing It ata Seven Just “Post-it” Courage 95 Optimal Performance Put Yourself on the Spat New Cues ug Flow Clean and Lasy Getting Close 131 ‘Trust Normal Fears and Doubts On Location 149 Back to the Hub New Things 153 The Dress The New Horn Other Energy 159 It Just Kicked In Epilogue 165 Centering Instructions 167Foreword Most of us who are performers realize that mental preparation and focus have a significant effect on our performance. However, skills like these are rarely tanght. Dr. Don Greene teaches these skills and shows instrumentalists and singers how to use and refine them, as they would any ather aspect of their technique: In addition to my career as a concert pianist and conductor, | have taught piano and coached singers for over twenty years. After seeing Dr. Greene’s work with members of the Florida Philharmonic, the Miami Opera, and the Lake George Opera Festival, | can honestly say that his ability to enhance per- formance skills is amazing. His work with professional and Olympic athletes for the last ten years has made him a leading expert in optimizing physical coordination with acute focus. His more recent work with performing artists has given him a deep understanding of the issues that are crucial to us in rehearsals, auditions, and impertant performances. Don's enthusiasm, enjoyment of the artists with whom he works, and genuine love of music make him a tremendous asset to both professional and aspiring artists. Our singers and instrumentalists have gained confidence and skills that they learned from working with him. I’m sure you'll find the same: to be true. Joe IllickIntroduction he warm summer evening in Colorado a few years ago, I pulled into my garage after conducting a grueling yet rewarding three-day golf clinic in Denver. | was glad to be home. The clinic had gone extremely well. The participants had gone away with more confidence, better facus, and a more positive approach to playing the game, a transformation that never ceases to thrill me. The entire field of sports psychology had captured my interest in the late seventies, which led to a rewarding career working with Olympic and professional g to Grand Prix athletes in sports ranging from platform divi driving With such a dynamic profession that continued to teach me something new every day, I had little idea of what lay beyond the world of competitive sports. In fact, it was a recreational golfer who would ultimately lead me to my next big challenge in a world I knew nothing about—classical music, ‘The phone began ringing as soon as I unlocked my front door, | raced to grab the receiver before my machine picked it up. The guy on the other end of the line was inquiring about2 © AUDITION SUCCESS my availability for an individual session. In addition to being an avid golfer, he was also a bassist playing in the Vail summer concert series. Could I help him lower his handicap a few strokes in less than an hour? “Sure,” I replied. “In return for a bass lesson or two.” I smiled, never one to pass up a new opportunity. We agreed to get together the next morning at the local golf course I met Ed on the putting green and soon found out that he was really a good golfer, but he was straggling with his putting. Tasked him about his preshot routine for his putting —what he was doing in the last twenty to thirty seconds before he hit his putt. [ asked him to show me what he normally did when he was playing, from reading the break of the green, to taking practice strokes, to hitting the putt. But seeing what he was doing raised more questions than it answered. What did he do under different circumstances? With longer putts? In more critical situations? We went out and played nine holes. I saw him hit a lot of good shots and I also noticed certain things he was doing that were not helpful. When we had finished playing, [ told Ed that I was impressed by his swing and that [ had some thoughts about his putting routine. However, | first needed more “information before | could make any recommendations. 1 asked Ed to complete a questionnaire, a sports psychology survey, which asks athletes how they perform certain skills under pressure. After a computer had tallied his responses, it would produce an individual profile of what he already did well and where he needed the most improvement He told me that he would take the survey, but asked if | had any ideas on what he could do right away to improve his performance. | told him that I wouldn’t know until I saw his profile, and that I hadn’t had my bass lesson yet. He said that he didn’t like transporting his stand-up bass alll over town Would I mind coming backstage for the lesson after the concert that evening? He would leave my ticket at the “Will Call” desk and he would have the survey done by then.INTRODUGTION * 3 ‘The concert that night was great; so was the bass lesson. I wasn't. I had taken some electric guitar lessons, but that was years ago, and this was very different. Ed was obviously an excellent teacher, but it really hurt my fingers to hold the thick steel strings down for any length of time. | soon asked for mercy. No, I couldn't lear to play the bass in less than an hour, but I was certain we could make significant improvements in his golf game, or at least his putting. We met in the clubhouse the next morning and went over his computerized profile. We found several issues related to his putting difficulties: he wasn’t getting a good feel for the length of the putt before addressing it; he tended to stand over the ball too long before he stroked it Ed was thinking too much before he ever started his putting motion, and that caused him to be less than totally focused on making the putt. We went out to the putting green and worked on his pulling routine. It was fairly standard stuff in my practice. An hour later, after he had become comfortable with the changes I suggested, we went out and played another nine holes. This time, the results were very different. Ed had 35 putts for the first nine holes we played; for the second nine he had only 31 Ifhe could do that on a regular basis, he really would lower his handicap After sve were done, Ed said that what we had done with his golf game applied to symphony musicians—that most of the performance issues were similar to the ones that musicians dealt with every day. I asked for his help rewriting my athletes’ survey in musicians’ terms, Instead of asking athletes if they were nervous before a competition, for example, we would ask artists how they felt before an audition. ‘That fall, Ed arranged for me to come to the Syracuse Symphony, where he is the Principal Bass, and offer what was now the performing artists’ survey to his fellow musicians. The conductor gave me two minutes to address the entire orchestra before a rehearsal. I admitted that I didn’t have any experience working with performing artists, but invited them to take the4 © AUDITION sucC ss survey anyway. | would have their computer printouts the following day, and we could start to discuss their profiles then. About forty musicians chose to partis I met the next day with those forty musicians and went over their profiles, It led to a fascinating session about the similarities -en high-level sports and music. We met the following day, when about sixty musi almost the entire orchestra came to the session. Before we finished, | asked them for their written comments and critique, ‘The concert master wrote: “Great work ... even a hint of betw ng showed up. ‘The final day, negativity would sabotage the many wonderful things you shared with us.” The principal trumpet player wrote that it increased his awareness and desire to improve, and that it “reaffirmed my belief in life being a journey, not a destination.” Another one of the principals described our bwo sessions as “practical information ... an organized approach to concentration, motivation and readiness to play one’s best.” At the concert that evening, I was hanging out backstage during the first movement. One of the principals asked if we could talk, saying that he didn’t have a part until the second movement. We went to a rehearsal room and sat down. He told me that he opened the second movement with a solo that tormented him. He had tried everything under the sun to help him deal with his anxiety, but he never knew if he would hit it or have another painful experience. It was destroying his otherwise happy, well-adjusted life I never knew that it could be that way with musicians; [ thought they just sat there and played. Listening to this talented and proud man explain his ordeal touched me. I knew there were sports psychology techniq there wasn’t enough time to teach him in these final minutes before he went on. All | could do was offer some words of encouragement, Before leaving Syracuse, Ed and I revised the cs that could help him, but survey to address better the real challenges that he and his colleagues faced on a regular b ‘That summer, addressed the Florida Philharmonic beforeINTRODUCTION * 5 a rehearsal. ‘This time, I was given three minutes, not two, to convince skeptical musicians to complete the survey and attend a feedback session on their individual profiles, and that sports psychology could help them do better what they already did well. One of musicians who chose to participate was a trombonist. He was preparing for an audition with the San Francisco Symphony Orchestra and really wanted to win the job. After we went through his profile, we agreed to start working together. We met once or twice a week for two months. ‘We tried all sorts of things, both old and new. He was doing better and better every week. By the time he left for the audition, he was prepared, confident, and ready to win. He played well through the first series of excerpts, and continued playing well into the second. Then suddenly, his mouth went dry. He'd become dehydrated from his cross-country red-eye flight the night before, It was very important for him to have enough moisture in his mouth when he was playing. He knew immediately that that was it—he was done. I should have thought to ask him about his travel arrangements, but we never discussed them. I know how critical it is for athletes to factor in the negative effects of jet lag on performance, but [ hadn’t asked. We both felt terrible. “That winter, I went back to the Syracuse Symphony to do a follow-up visit. It was great to see everyone again. They took the revised survey and we talked about what we'd learned since we'd last been together. After the two group sessions, I scheduled halfhour sessions with individual musicians to discuss their profiles. One of these was Brian, a 35-year-old horn player Thad met during my previous visit. He told me that he was starting to prepare for an important audition with the Houston Symphony. Brian mentioned that he had experienced some difficulties in recent auditions and asked for my assistance. We agreed to work together over the phone after [ got back home. ‘That summer, I was invited to the Lake George Opera6 * AUDITION sUCG SS Festival to work with the apprentice artists. They were just about to start the final week of rehearsals for Rigoletto, which was opening in five days, I tried to schedule at least or with each of the singers during their upcoming busy week. I met the following day with Veronica, a 28-year-old mezzo- soprano, She had a leading role in Rigoletto and another part in Gianni Schiechi. She was facing a challenging week of rehearsals and performances. I was about to have one of the most incredible weeks of my life, being around a group of talented performers in their final preparation. I learned a great deal by observing the rehearsals, but it was the individual sessions, one on one with different singers, where I really started to appreciate the struggles that these artists faced in their careers. ‘Through Brian and Veronica I will show you a different approach to stressful performance situations. As [ help them prepare for their auditions, they'll progress through three stages. These are the same phases that my clients go through in preparing for recitals, solos, important concerts, and auditions. In the first stage, I assess their performance strengths and weaknesses, and teach them Centering to focus and control their energy. The second stage includes using tools such as mental rehearsal, process cues, and simulation training. The final phase puts it all together, with artists forming a positive outlook to approaching stressful performances, when they're able to trust their talent, training and, most important, themselves. Although this approach may be considered a means to alleviate performance anxiety, [ don’t see it that way, | do not like the term performance anxiety. Putting a label on something as normal as the energy which accompanies most stressful circumstances is not helpful. It somehow makes what highly functioning individuals experience before and during live performances wrong, as if it were a disease. It may be uncomfortable until one learns what te do with it, but it’s not a disease. Thinking that it’s wrong and needs to be suppressed can make it more of a problem than need be. The solution is to interpret the myriad of symptoms that sessionINTRODUGTION © accompany high-stress situations (racing heart, perspiration, butterflies, clammy hands, and so on) not only as normal but to be expected and accepted. Rather than feeling those things and thinking “Oh, no, why now? Now I’m going to mess up,” the idea is to feel that same energy and realize “I know this is important, the adrenaline’s kicked in, my body's gearing up, T'm gelling ready for an energized performance.” ‘This will not make those symptoms go away, but it will help you use the energy in a far more productive way. Rather than irying to suppress it, the goal is to regulate and use that energy for more focused, exciting, and powerful performances. That's what gets standing ovations, not cautious, low energy renditions that bore the audience. It’s also what wins auditions. In the time since | worked with Veronica and Brian, my clients have won over seventy professional orchestral and opera auditions. ‘Throughout the book, I will strive to emphasize several key concepts. These are: learning how to Center effectively; doing simulation training; using appropriate process cues, the concept of optimal performance versus trying to be perfect; keeping thoughts positive or being mentally quiet; the need for courage; developing a preperformance routine; and learning to trust yourself, ‘The bottom line is that this is a better way to approach high-pressure situations; being positive versus negative, being focused versus scattered, and using that energy versus freaking out. | seek to change not only your paradigm of how to approach auditions and important performances, but also your experience of them, so they become less of a dread and more enjoyable, exciting, and better. Imagine that! What follows are the taped conversations with Brian and Veronica, with their express consent, They are as close to verbatim as readability allows. I hope that you lear and profit from their journeys.GHAPTER ONE The Profiles EIGHTY MILES PER HOUR eronica and I met ina conference room at the high school Vaz they were conducting the final rehearsals of Rigoletto. She had already completed the survey, so I brought her profile with me. I asked her what she thought we were going to do during our session. She laughed. “T have no idea.” Do you have any expectations? “You knaw, [ don't even think I have any expectations, I'm just very curious.” That's good. So please tell me about your background and how you got started in music. “Ur. ... grew up in New England and I studied piano and theater in high school. In college at New York Univer Ispentmy first year at the Tisch Schoo! of Arts studying drama, But I wasn’t happy, so I went to France for my sophomore year1b AUDITION SUCC ‘The University of Paris has a yearlong course for foreign students in French history and culture. So I did that, and | actually studied piano in Paris, Then 1 came back and | switched ... is this too much detail?” No, this is great. “switched my major to French, By my senior year at NYU, I started taking voice lessons for fim. | didn’t really expect anything from it, but I knew I had always liked to sing. But the woman | studied with was very ng and gave me tickets to the opera. | really, reall dit a lot because it had all the elements of things that I had alw theater and music, all in one. Plus, I seemed to have a natural ability to do it” s loved, languages, Were those lessons you took regular voice lessons or opera lessons? “Tt was all classical music and opera; that was her interest. I didn’t even know anything about opera when I started. [ just liked to sing. I was with her about a year, and | auditioned for a master’s program at the Manhattan School of Music. It was the Conservatory, and I was accepted. My master’s degree took ars hecatise | had no musical education up until that point. So I just got through that, and then after I graduated, I started auditioning for music apprentice—type programs and studying all along ... and that’s been for the last year and half.” three y Well thanks. Would you like to look at your profile? #1 is is the scary part, | think.” ‘There's nothing to fear. And besides, there’s a number of really good things on your profile “That's assuring!” Learning more about Veronica’s journey into musicTHE PROFILES © 11 reinforced what her profile would show as strengths, par- ticularly her motivation and strong commitment to music. She was a strong-willed, enthusiastic performer who loved what she was doing, but often got caught up in the excitement of performing. | began to take her through the different categories in order to validate her profile First of all, your Intrinsic Motivation is very high. That's wonderfull “What does that mean?” It means that your prime motivation is from within and that you're driven as a performer, It would appear that you're doing it for your own reasons, your own pride and the satisfaction of performing your best. “That's true, I’ve always been selfmotivated.” Your Commitment is also in the high range. That suggests that you are very invested in your career and success. “So far this all seems very positive, but I know I’m not perfect. Is a high score always good? Not necessarily. In fact, the next couple of scores, which are relatively high, may reveal what is hindering you in performances. Let’s find out what your profile says about your ation levels, “My what?” Your Activation or energy levels. They're a combination of your physical and mental energies. They're measured before you go out on stage and while you're rehearsing, performing, or auditioning, All of those scores are high; that means you're probably experiencing a lot of adrenaline and anxiety before and during live performanees. It says you have a high “rev rate” that you are highly activated, with lots of energy. You probably come into rehearsals or performances really ‘up!12 © AUDITION SUCCESS “Yes, my heart always seems to be racing just before I have to perform.” and [ see that your Optimal Activation is very high. “What's that mean?” It means you sing your best when you're ‘up? ‘Think of when you're singing really well. You sing your best, or optimally, when you'te at a very high energy level, as if you were going So miles per hour. Right? “Yeah” Veronica laughed. “You're not kidding.” You're running your engine at a high rate of speed all the time, That can be draining, and if you go a little past that already high level of 80, then you're into redline. You sing your best at a high energy level. So if you're already up and if something unexpected happens, you're over the line, your cup just overflowed ... and that’s when you could get into trouble. “That tends to happen a lot. But what can I do about it?” We'te getting to that. [She nodded.] That's good, but you have trouble doing the reverse. Your score of average for Ability to Deactivate means that at times you may have trouble bringing your energy level or anxiety down, especially when it gets way too high. So when you need to relax, .. . That's really hard for me.” ‘That's my concern with you running at an 80. If something else happens and you hit an 85, you might not be able to bring it down. And knowing that, in itself, will cause your anxiety to go even higher. “Oh God. Fm going to explode.” But you can lear how te control that energy.THE PROFILES © 13 “Good. | just get so uptight about it all.” We'll come back to that. Your Fear of Failure score is low. This fear is fueling your anxiety and saying, ‘Fm not sure how it’s going to go.’ and “What if 1 do this wrong?’ Just more fuel for your qick-ranning engine. You just dumped in some nitro fuel “Qh no!” She laughed. Is it accurate? “Yes, that’s exactly what it feels like.” Your Mental Quiet score is also low. That means you're thinking too much or too fast. And if you're thinking about what could go wrong, it’s going to keep your activation levels high. That extra thinking and worrying is overdriving your up engine. You can see how many of these results are reve intertwined, “Yeah, Oh, wow.” Your Performance Under Pressure score is in the average range. Tt means that sometimes you perform well under pressure and sometimes you don’t when you're at an ‘up’ and positive $0 and feeling good, then you do v then you don’t perform as well as you can. Ina performance situation, I. But when you cross that line and get to 85 or ga, Veronica nodded. “That makes sense, Your Self-Talk score is average and says that sometimes you stay positive and sometimes you beat yourself up or chew your- self out. Sometimes you're positive and encouraging, some- times you're self-critical. It probably depends on the situation, “Staying positive is a new thing for me. [ve only been able to do it for the last six months or so.” How?We AUDITION SUCCESS “Well, I was working with this one coach. He believed that where you were wasn’t important. It's just great to be doing what you're doing, that you're up and going ferward. He just had a great attitude.” Did those ideas feel comfortable? “Yeah. They felt really comfortable, and so I got used to talking to myself that way. Then one time at an audition, [had this experience where I was so scared that I was shaking. I couldn't even breathe. So I said to myself, ‘You know, you must be a very brave person to do this. Even though you're so seared, you're still doing it” And that’s when it really started. Just being able to see how scared I was and yet do it anyway, no matter how it would come out. Just getting up there and doing it deserves... 1 don't know .., samething.” agree. “That didn’t make me feel any less nervous necessarily, it just made me less down on myself.” It took the nervous edge off, but it left you with the same physiological symptoms, ight... and then my fear of failure ... but there are other voices .... its like millions of voices saying different things. ...” We'll get to that, But what you've already done is what you need to learn to do even better. I just want to support your continuing learning of it, because it’s very critical for you to continue the process. But it hinges around how you talk to yourself and whether you're positive or negative with yourself talk, We'll get back to that later. Now, your score on Ability to Recover is high. ‘That's wonderful! It means that if you do make a mistake, you can recover and come back; it doesn’t devastate you. You ean bounce back quickly, “That's never been difficult for me. I just say, ‘OK’ and goon.”‘THE PROFIL Your Commitment score is very high. That tells me that singing is very important in yout life. “Yes!” Your Self-Confidence score is in the average range. That's tied to your self-talk, or the way you talk to yourself inside your head. When you beat yourself up verbally, your self-confidence is going to go down. When you stay positive, it goes up. But right now, I need to know if you feel your profile is accurate. “Yes. Itseems right on target.” Good. You have some wonderful stuff, like your moti- vation, your ability to recover and your commitment. You have some things that have a lot to do with your thinking, that can work either way. You need to learn how to use better the things that have worked for you, and use them more often. So Veronica, do you have any questions? “I don't think so. It’s amazing how well these profiles worked. They really came up with some good insights.” Good. So when do you sing again? “[ might sing at the dress rehearsal tomorrow night, and in the afternoon it’s the rehearsal for the other opera.” Would you like to get together tomorrow? “Sure. How about after the rchearsal?” Great. I'll see you at the rehearsal hall. I left Veronica with a lot to think about before our next meeting, particularly her self-talk, the need to stay positive, and her high rev rate. My next student, Brian, provided a vastly different example of a talented musician struggling in certain sce that notall artists deal with stressful performances. You wi situations in the same way.16 * AUDITION St BRIAN MEETS BOB My first meeting with Brian in Syracuse was in one of the backstage dressing rooms at the concert hall, He mentioned that he had recently set up an audition with the Houston Symphony that he wanted very much to win. He needed to play well to do that, but he had an underlying concem that he didn’t audition well or play well enough to compete with the very best. “A few years ago, I was making the finals in auditions for several major orchestras. Now I'm not even getting out of prelims, not to mention ever getting close to actually winning a jab. And that concerns me, because I'm playing better than Tever have, and yet in auditions, I'm just not doing it.” Brian, would you please tell me about your background in music? “Sure, | went to Northwestern, | graduated in the class of °81, so I have a bachelor of music degree. I played with the Louisville Orchestra from 1983 through 1989. [ was the third hom. I played a couple of years in the Chicago Gi Orchestra, which is the taining orchestra of the Chicago Symphony. Civie’s a big deal; you get to play with the CSO, but I never did. Somehow | got passed over a couple times. That’s something which I’ve never really totally gotten over. A small part of me is like, ‘How come I never got to do that?’ It’s always kind of pissed me off a little bit, but playing well is the tly hold me back anymore. So I and I was basically just ic best revenge. It doesn’t was playing in the Chicago C! freelancing” When did you audition for the Louisville orchestra? “Well, first I auditioned for what's now known as the National Repertory Orchestra. Back then it was called theTHE PROFILES * 17 GPO, the Colorado Philharmonic Orchestra. It was based in Evergreen, Colorado. It's a training program in the summer, with nine weeks of intense repertoire, and I was one of three principals there. I won the Louisville audition shortly thereafter. But Colorado should definitely be om the resume, beeause that’s a big deal; the CPO and then Louisville. So T was in Louisville from ’83 to ’89, and in the summers from '8s to “89, I played with the Colorado Music Festival in Boulder, I was playing with players from Chicago and New York and really excellent freelancers. It was a great experience, Hight weeks of just absolutely great music and riding your bike and hiking and illicit romantic affairs .., it had everything,” Taughed along with him. Brian continued “| played second and fourth horn, that was my niche and that’s fine; | had a great time. As a matter of fact, that last summer in "89, my best friend and I were roommates and we were first and second horn. That's some of the best playing I've ever done in my career. In’8g, after he had gotten principal in ‘Columbus, the third horn position became epen. He said, ‘T know Brian hates it in Louisville. Let’s get him. So I made a decision to leave a tenured position; I hated it that much, I knew this was probably only going to be a one-year position. So, from ’89 to °99, that one season, | played in Columbus, I had the unique experience—1 don’t recommend it—of having to audition for my own job. If 1 won the audition, I kept the job Lalready had. If | didn’t win the audition, I lost my job and I'd be out on the street. It was kind of the worst of both worlds. 1 played an okay audition, but even though they knew who it was, they just couldn't hire me. I didn’t make it past the prelims. But nabody won the audition. They didn’t choose anyone. I was out on the street. So... I switched to a new mouthpiece because I wasn’t happy with my setup, and three weeks later ] won Syracuse.” Is that what happened? Really? I smiled.18 © AUDITION $' “Twas unhappy. I didn’t have a great season in Columbus, Iwas having some playing problems because I had made some huge adjustments and I switched a mouthpiece, | just changed too many variables, including who I was playing with and where I was living. It was just too much for me to handle and I just wasn’t playing well. And I didn’t play a good audition for Columbus. But I got it together very quickly.” Brian had fallen into a classic pattern when faced with stressful situations. In conjunction with a series of poor performances and auditions, he had lost confidence in his playing, Moving from place to place, altemating mouthpieces on his instrument, and changing ensembles had left him disheartened and unfocused. Fortunately, he was able somehow to pull it all together for the Syracuse audition, but he definitely needed to lea how to do that on a more regular basis. “At first I joined the Syracuse Orchestra as an assistant utility hom, Itwas a two year contract. But when the associate hom didn’t come back, my colleagues voted unanimously to hire me in his place. They had enough confidence in me, including the music director, that they didn’t even make me play a couple of excerpts for them as a formality. I was really pleased by that. So I was happy ... and the first horn was happy everybody was happy. And then, in the Last two seasons, when one of the horn players was getting ready to go to the Atlantic Brass Quintet, I basically filled in on fourth, As a matter of fact, the last two seasons, I was acting fourth hom. It wasn'ta change of contract, but | was actually fourth Associate Principal, which nobody does, at least not on a consistent basis. But that’s what I was asked to do and that’s what I did. I did it very successfully.” When did you start thinking about leaving Syracuse?THE PROFILES © 19 Brian then went into his current problem, Apparently, he had continued going to various auditions while at Syracuse, and yet he wasn't making it beyond the prelim in any of them. Despite playing better than ever, he wasn't nailing the big audi- tions for major symphonies, and he couldn't understand why. “[ wasn’t getting out of the prelims and it was really getting frustrating because I knew I was playing better than I had before, Finally, I realized that the reason I wasn't getting out of the prelims was because I wasn't preparing for auditions the proper way. That’s why I want to work with you. Whatever had worked back then wasn’t working now. [ decided that it was time to change the game plan.” Tell me more about your last audition. “Well, first of all, in the Detroit audition, I had a new horn. I felt comfortable on it, but I still didn’t quite make it. 1 was disappointed that I didn’t do better. I have gone by what my old teacher told me a couple of months ago, that | should just do what Fve been taught and what I know. Pve heard great players, studied with great players, and know everything I need. I just need to trust inside. And I know that I really don’t need to go to any other teachers; my tape recorder and I can solve any problems. That's where I'm at.” When is the audition in Houston? “In about eight weeks. Does that give us enough time?” Hopefully so. But let’s go back to the Detroit audition first. [I wanted to get a better idea of where he was losing his focus.) “| started preparing intensely three weeks before and I think I burned out. | felt myself ramping down in Detroit. I still played a good audition, but I didn’t think I was all primed. The thing about Detroit was that I was ina little warm-up room and the person next to me was blasting, All T did was sit back and20 * AUDITION SUCGG SS say, “This is the first note of Schubert. This is how I'm going to play it.’ So I was able to overcome that crummy little room with someone blasting through the excerpts when I just wanted to sit there and be quiet. Apparently I didn’t practice enough, because | had a mistake on the fifth excerpt and one small mis- take in a previous excerpt, itwasn’ta bad one, but two mistakes and I guess they figured, ‘He made two mistakes. It wasn’t what we were waiting for. He’s out of here.’ And that was it.” Do you know what caused that second mistake? “I'd been playing well. But I got to the fifth excerpt and they had put the wrong part on the stand, So I was just going along and I tried to relax. It was a loud excerpt, and then I felt a little shake in my playing; but I played through it and [ thought I was doing fine. ‘The mistake seemed to come out of the blue,” he said with a frown. Five minutes before you went out there, how did you feel? “Very calm and relaxed. I knew what I had to do. They even gave us the list of the excerpts that we would be playing in the prelims. I just psyched myself up more mentally and physically to start with the Schubert. And that went extremely well. It’s a part that I've had difficulty with in the past, but I absolutely nailed it. But for the fifth excerpt, it was the wrong part and | was losing a little bit of focus. I played two wrong notes because | expected to see the second horn part, but they put the fourth part to the Tchaikovsky, which I didn’t remember until later. I'd stopped right in the middle of it and they said, ‘Thank you,’ [ think they were going to pull the hook on me anyway. | told the monitor that I would like to do that again. They thought about it for a minute and then said, ‘Fine, go ahead.’ So | played it again, knowing that this time it had to be better, [ started out better, but | still ‘chipped’ something, ‘They just said, “Thank you’ again. It was a disappointing end to what I had hoped would be a good audition, and what had been going well up until that point.”THE PROFIL So it was otherwise a good audition? “Yeah, it had been a good audition. Until that excerpt, I thought [ was really on a roll. And I was fully prepared to go on and accept that as just a momentary lapse. But I didn't even get the chance. I wasn’t the only one, though. I talked to a number of other musi so thought that the prelims were wery n't play the way | needed to,” ians who short. But I guess I just It was evident after listening to Brian that one of his problems was his inability to concentrate, His talent and drive were there in full force, but he kept missing, especially when things took him by surprise, This was understandable—many performers struggle with similar problems—but I needed to see what else was involved. It was time to go over Brian’s profile with him, I asked when he had completed the survey “I took it right before I left for Detroit. I could imagine myself very well being in an audition, so this ought to be pretty accurate.” Let me ask you, do you feel that you were properly prepared for that a ition? “Pretly much. I started three weeks before. I thought my prep was good, but in hindsight, it wasn’t quite good enough. Apparently I didn’t practice enough, because I still had a mi take on the fifth excerpt. I guess I could have done a little more mental rehearsal. | think I need to da more of that for Houston.” It’s also important for you to start designing the preaudition routine that you're going to use in Houston; one that will take you on stage better prepared to play your best. Your profile should give us some good clues about what should be built nto that routine. Are you ready to take a look at it? “Sure.” ‘There are a number of very positive aspects on your profile22 * AUDITION SUCCESS Your Intrinsic Motiv; ; you're not distractible by external things; you've got an optimistic outlook, which helps you stay positive. Does that sound accurate? “It does so far.” Your ability to control your performance energy also looks good, “[ think I have the physical stuff down. I did a good job with that in Detroit. I was mostly relaxed, only a little tense. 1 could feel a little tension in my shoulders, but I still went out and had no shake. I just got a good breath and played.” That's great. Your Ability to Risk Defeat is low. That means that you have more of a fear of failure than I'd like to see it. “That doesn’t surprise me. In fact, it makes perfect sense.” ‘That’s good. Pm also concerned with your own over thinking; thinking too much about what could go wrong, “Like, “What if I lose the count?’ I do tend to do that, but I would like to eliminate it if I can. I just don’t know how to do that.” One possible solution is to give a name to the voice that brings up the ‘what if?” questions, “So I should imagine a person ... No, just give it a name. “Should it be a person from my past or just a made-up name?” Any name that comes to mind. You can think of him throwing a ‘what if at you, like, “What if I go into this audition and miss the first note?’ Think of that coming into your head. “OK, so I'm going into the audition and I think, ‘What if 1 bash the first note?’ Then what?”22 © AUDITION SUCCESS Your Intrinsie Motivation is strong; you're not distractible by external things; you've got an optimistic outlook, which helps you stay positive, Does that sound accurate? “Tt does so far.” Your ability to control your performance energy also looks good. “1 think I have the physical stuff down, [ did a good job with that in Detroit. I was mostly relaxed, only a little tense. I could feel a little tension in my shoulders, but I still went out and had no shake. I just got a good breath and played.” ‘That's great. Your Ability to Risk Defeat is low, That means that you have more of a fear of failure than I'd like to see it, “That doesn’t surprise me. In fact, it makes perfect sense.” ‘That's good. I'm also concerned with your own over thinking: thinking too much about what could go wrong. “Like, ‘What if I lese the count?” I do tend to do that, but I would like to eliminate it if 1 can. I just don’t know how to do that.” One possible solution is to give a name to the voice that brings up the ‘what if?” questions. “So I should imagine a person ... ?” No, just give ita name. “Should it be a person from my past or just a made-up mame?” Any name that comes to mind. You can think of him throwing a ‘what if at you, like, ‘What if I go into this audition and miss the first note?’ Think of that coming into your head. “OK, so I'm going into the audition and I think, “What if I bash the first note?” Then what?”1 PROFT Just tell me the name that you'd associate with that voice, the one saying that to you. “Hmm... How about Bob?” Great. Now let’s take Bob out of your head and externalize him as the one behind the ‘what if?’ voice. Think of the things that Bob's been saying to you. “Alright” And for every ‘what if; rather than taking it internally and letting it snowball and buying into it, reinforce what you need to do instead. Every time you hear the ‘what if} respond cither with a positive statement or challenge it. You can challenge that voice rather than buying into those doubts. Answer with a very conscious, logical, knowing response. “And I should make this a daily part of my routine as well? ‘This shouldn’t be just a specialized thing?” That's right. Bob is going to be with you for a while. “You know, with those internal distractions going on, I sometimes forget to focus on creating the sound, which seems to be the way that works best for most excellent players I know. I don't do enough work creating sound; I react ta what comes out of my bell as opposed to creating it and imagining it as a finished product before I even pl ily start. I need to do a lot of that, and I know that, and yet I don’t do that. What does that say?” This isa cornmon problem, but definitely something you can evercome. You just need to set up a schedule to practice that. Just like setting up a schedule to practice physically the pieces for Houston, I'd also encourage you to set up some mental practice time to focus on what we're going to cover. “{ seem to need some help with that.” When would you like to start?24 * AUDITION SUCCESS Both Veronica and Brian were ready to begin. Having gone through their profiles individually, it was obvious that both were enthusiastic, talented musicians. At the same time, contrasting issues and styles meant that we would be focusing on different things. Everyone is unique, but as you will see, the skills and techniques I use in my program can be made specific to each and every individual, including beth Veronica and Brian. It was now time to begin the real work. If you're interested, you can go to www.Dongreene.com on the Internet. After you log in, you'll be able to complete the Artist's Survey and receive your own individualized printout, with a full analysis of your profile and specific recom- mendations on where you can make the most improvement.CHAPTER TWO Process Cues BREATHE the focus of the material in this chapter deals with familiarizing Veronica and Brian with their energy levels—in and out of auditions. I also introduced a critical concept to both of them: the process cue. This is a word or phrase that represents what you do when you're performing your best or what you think about in order to do well. You will see how both Veronica and Brian develop their process cues according to their own specific needs My second meeting with Veronica was the next afternoon, when she came out of her rehearsal. We went into the vestibule and found some comfortable chairs. After the other singers had gone, we went back to the previous day's conversation. She started out by mentioning the voices in her head. I told her Fd like to start knowing more about what the voices told her to do in order to sing well. ‘Think of two or three positive words that would help before you go an. What words capture your best singing, or what you26 « AUDITION SUGC Ss need to do? Imagine that you're about to go on stage and you're hearing one of your teachers reminding you how to sing well. What would they say? Veronica thought about this for a second. “I don’t know,” she replied, a little confused. How about words like ‘posture’ or ‘breathe’ or ‘flow’? “T think it would be something more -.. not something ical. Something like, “There’s nothing to worry about, as you're thinking about the character and what the ph long character has to do. Then there’s nothing to be nervous about. Something like that.” What about your good singing, What do you need to do ging well? to sing well? Or what do you do when you are “I'm not sure.” Iwas trying to get Veronica to come up with a word that would capture her process when she was doing it correctly. [ asked her to tell me about one of the best performances in her career. “I did are conservatory.” al last year, my graduation recital from the Why were you so good that day? “| felt like everybody in the audience was really excited to listen to me.” What else? She paused. “I was pretty well prepared...” What did you do with your voice? How did you sound? “Pretty good. ... I was a little nervous, but not terribly. [ listen to the tape now and 1 know I could have sounded better.”PROCESS What would you de to sound better? “Breathe better.” Define ‘better’ [I wanted her to be specific here. | “It helps my voice ... it helps support the tone.” How do you learn to breathe better? “[ don’t know . .. by working at it” [Before Veronica got stuck in her standard mode of thinking, I wanted her to look deeper at what was causing her nervousness.] We'll come back to your breathing, Let's talk about your fear of failure. “OK,” she said, Let's assume that you're about to step out on stage and you're thinking about what could go wrong, What comes to mind? She thought about this. “Things like, ‘What if [crack on a high note?’ ... “What if | forget the words?" . . - “What if I don’t express the aria very well?” .. things like that.” Alright. There are two ways to deal with these, Do you work with any younger singers? “A little bit with high school girls” Let's say that you've been working with one of them for several months and then it's time for her to doa high school performance. Ten minutes before she goes out, she says, ‘What if T crack on the high note? What would you tell her? “Oh God... Oh God! You can’t tell her that she won't ...," she hedged. What could you tell her to do to prevent that from happening? GUES © 2728 © AUDITION SUCCESS “I don't know, This is really hard.” When this happens to you before you go out, and you accept the ‘what if’s' as real possibilities, it can drive your activation level of 80 up to a go. And if, at that point, you don’t have a strategy to bring it down from the ge, it will stay there for quite a while, especially by thinking about it without any solution, So wouldn’t you rather talk about it now? [This was a critical point in Veronica's thought process. | “Oh, yeah.” She laughs. “I'm just shocked that I can't come up with any examples.” Let me use a sports example. Have you ever watched any platform diving? “Like in the Olympics? Yeah.” On back takeoffs, divers stand with only the balls of their feet on the platform. From that position, they can do back dives or inward somersaults. When they're doing inward two- and-a-half’s, they spin in toward the platform. One of their fears is hitting their head. Now if they're standing there and thinking, ‘I hope I don’t hit my head, it’s very tough for them to go. “I bet.” Coaches certainly don’t want them to get too close, but they don’t want them to be too far away either. If they push back too far, it’s difficult for them to make the rotations. Then they don’t spin enough and don’t hit the water correctly. That can be painful. So the coaches want them jumping it in the right place. They use positive cue words or phrases. Rather than having them think about hitting their heads, they tell them, Jump to the right place.’ If they do that, they'll be safer and start the dive well, So instead of thinking, ‘Don’t hit your head; they say, ‘Jump right, as a positive cuc. “Ise,” Veronica said, nodding.PROGE Tf they start thinking, ‘What if | hit my head?’ and “That would really hurt) it can lead to them thinking about being in the hospital. That would probably drive their activation level to a ninety, Then they get physically tight, and that makes it even tougher to do the dive. So they've learned to substitute positive process cues for each one of the ‘what ifs’ For ‘What if | hit my head on the platform?’ they substitute, ‘Jump in the right place? “So how does this work in terms of singing?” Positive process cues would be more helpful for you to think about than cracking on the high note, So what do you need to do to sing well? “Well, I need to breathe, [ need to relax ... and I need to get into my part.” ‘That reduces the anxiety. “Yeah. But what if I tell myself that and then I don’t do it?” She sounded skeptical. ‘That's just another ‘what if? “Oh, no!” When tough situations come up, when the stakes are higher and there's more pressure, the ‘what if" gets louder and faster and you hear it more often. You can take it too seriously and start to buy into it: ‘Well, what if it does happen? What if my voice cracks?’ Once you buy into it, your activation levels rise dramatically. “T see what you mean.” But you can challenge that and start dealing with it Imagine yourself thinking, ‘What if I forget the words?” Now, rather than buying into it, I would like you to challenge it and prove why it’s not going to happen. CUES 2930 + AUDITION SUCC “I'm not going to forget the words,” Veronica repeated to herself. “And so what if | do?” How about, ‘I've memorized the words. I've spent the time. Tve gone through a thousand rehearsals. I know it in my sleep. How’s that? Or you could use your good sense of humor. “[ think that happened to me before that recital, actually. L was just out there saying to myself, ‘There’s a whole group of people here to hear me sing, This is crazy!” And I just started laughing because I didn’t believe that you could do something like that. You just had to laugh.” She smiled with the memory. 1 your nervous activation of 85 went to a 70 or 75. “Yeah, It's so exciting to believe that that can happen.” You did it! Your humor is a definite ally. When your humor kicks in, it’s wonderful, But when you're too serious, when the ‘what ifs’ are really dominating your thoughts, you're not laughing and your nervousness goes up. “Yeah, it'sstupid. Then you make yourself de things wrong. You're home and you sing through the arias before an audition and everything's fine, and then you get to the audition and you think, ‘I can’t do it. [can’t do it right. You make yourself screw it up.” Or you can allow yourself to sing well. “Right, right. It’s not that bad.” Akey part in Veronica’s ultimate success would be focusing on. keeping those inner thoughts positive, as it is so often a critical element in stressful situations. She needed to challenge her “what ifs,’ use her sense of humor, and keep repeating her process cues. With those things in mind, she and | arranged to speak again the next day.PROCESS CUES ¢ 31 A TRAINING DIARY My first phone call with Brian was the week after I got back from Syracuse. He was anxious to continue. I started by asking him if he had any afterthoughts from our session in Syracuse. He recalled that we had “hit a number of things.” He remembered talking about his fear of failure and its relationship to internal distractibility, We had also discussed Bob, Brian's face lit up. “Actually, I used him on Saturday night. He's the ‘what if guy, you know, ‘What if you miss this note coming up?’ ‘What if you lose the count?’ I just told him to back off,” he said, triumphantly, And how did that feel when you said that? “That felt pretty good. I felt a little more in control.” Super. Did that add any humor to it? “Actually, I took it as kind of ‘professional’ You know it's like, ‘Look Bob, I've got to do my job. I'm supposed to get all the right notes, so let's talk about this at a later time. This was the first time I've tried that exact strategy out” Sood! [It sounded like Brian was making progress, It was time to narrow down specific auditions to work toward.] Now let's talk about the specific dates. “Today, | got my packet from Houston. The dates are the 2oth, zist, and 2and of May. I've already made my reservations.” ‘That gives us a little less than six weeks “Pm going to request a mid-morning time on Monday the 22nd. That's the last day and the finals are later that day. So Fm hoping that I will come in . .. they will be tired, but | know they're a good section and they'll still be listening. So if T can go in there and prime myself, just walk in there and say, ‘Boom,* AUDITION SUCCESS there it is, they'll take me, no matter how many they have in the finals.” That's the right attitude, “I want to go in and knock their socks off, No matter how many finalists, they'll add one more if I show them that I’ve got something” Have they told you what pieces to prepare? “Houston has about 25 or 26 excerpts. But they can throw anything at you and they all have to be perfect. No problem.” What do you like to do to prepare for it? “In the next week, | would like to get my practicing planned out as far as doing specific things, not just going over the excerpts a number of times. | have thought of taking maybe the top five excerpts that | don’t play as well as I would like to, working on at least one of them a day, and really working them over as far as playing them through the tuner, playing for the tape, playing them slower or faster, playing them in a different key, all sorts of ways you can do it, But there are a couple of excerpts, like the opening of Rheingold, that I just don’t have.” Could you put the excerpts into three piles? One that you could nail in your sleep, one that you can do hal£awake, and the third one we'll call challenging, And after you've done that, randomly pick one or two pieces from the first pile and play them, and then move to the second, and then play a few of the picks out of the third, “Practice two out of column one, two out of column two. ‘Two from each column? Ata single practice session?” Exactly, “Should [ work them over or just play them once or twice through?”PROCESS CUES Right now, whatever seems appropriate, but separate this practice from your regular playing. And start building a routine into your practice and playing “But I pl y just excerpts and nothing else.” If you're doing scales or practicing other pieces before that, please take a break and go out of the room. Or even better, go outside before you start this audition prep routine. “So make this a complete break? Because otherwise, [ can start right in. Sometimes I'll do that with excerpts, as if it’s the first excerpt of an audition. No warm-up even, sometimes. I'L just walk in and see what I can do.” Separate it so that you're doing it for a specific purpose. “Any particular length to this session?” ‘What would be your longest time on stage for an audition? “In an audition, probably the longest would be ten to twelve minutes.” ‘Then go for twenty-five minutes, so you can play longer than you'd ever need to. You could build up to it aver several days, certainly by the time we talk next time, In the meantime, just go in and play under the same conditions as you'd expect in Houston, IF you're going to be standing stand or silting down, then do that and whatever else will help to approximate the circumstances. Ceme in with your hom, go through the excerpts and play your best. front of the music “Now is that the session to do two of each from the three piles? That’s this kind of practice?” Yes. And before you go in, check your energy levels and see where you are. Are you going to be playing behind a curtain? “Yeah, there's always a screen.” Okay, imagine that the people on the other side of the screen are there . -34 © AUDITION SUCC! “So imagine a screen...” -and imagine those people and doing it for real. If you feel any extra energy, amplify it, bring it up. Put some pressure on yourself to play incredibly well. 1 want you to mimic the sense of playing in a real pressure environment “Okay” But first try to quict your mind. Deal with Bob or whatever you need to do to get there. And start using a routine so you can find one that works. “Does this include checking energy levels?” Yes, a scan of your body to check your activation level and also make sure that your muscles are relatively relaxed. “But | put the pressure on myself. That's kind of opposite, isn’t it? Because I'm trying to relax myself” ‘That's a good observation. Put the pressure on and then alleviate it. “All in the same preaudition routine?” Yes. You'll get used to it, “So put the pressure on myself, imagine the screen, imagine everything else and then quiet my mind and relax my body. And this is after I've put pressure on myself?” Yes, “So what I'm doing is getting myself keyed up and then bringing myself down and then stepping into the practice room. . ...and playing to the best of your ability, ‘This is not a regular practice with warm-ups and technical exercises. This is Show Time, “So that's when I ac level.” ally walk in and play two from eachPROCES: Yes. “And I play them in that order? The ones that I ean nail in my sleep and then the ones that are marginal and then the ones that are difficult.” Say, ‘the ones that are challenging!” “Yeah, I know that’s importan Eventually, you're going to give every excerpt a word, But we're not quite there yet. By next week, will you be able to play all of them? “Oh sure. I mean I could do: this, perhaps even twice ada Just go in there after your routine, go through the excerpts, play your best and finish. Go back to whatever else you were doing, and if you want to go through it again Tater, start with your routine again. “Should I tape it? Because taping makes me nervous, even sitting at home.” Yes, That’s important in creating the sense that youre performing, “Okay, Pll tape it and then listen to it afterwards.” And write some notes. “Okay, eri Not critical so much as what you need to improve, how you can do it better next time. al listening.” “So put it in positive terms; ‘tone could be smoother’ or ‘slur could be more in tune. Something like that2” ‘There you go! “Not, ‘that sucked"... ‘this was terrible’... ‘where'd you get that shaky sound?" Sometimes I listen and say to myself, ‘Oh, you've got to be kidding!” Brian laughed.3 © AUDITION SUCCESS ‘The last thing, Brian, is when you're playing these, if you make a mistake, do whatever you'd do if you were to make a mistake in the audition, “Got it. Just go on.” Just go on. You're going to make a mistake in practice and then you can figure out how to keep on going and build that into your practice. So once you walk into the room to start, you're on. Do your best. “Yeah, matter of fact, | might go as far as to let the tape go before I get into the room so | don’t have the official thing of starting the tape by hitting the pause button, It will make it as close to the real thing as possible.” ‘That's great. “What else?” ‘The other thing is to keep notes when you're listening afterwards. Not just on the sound, but on what you've been working on and your progress, and what you've been experiencing and learning. “So you want me to keep a training diary?” Yeah, Keeping a diary allows you to keep a record of the positive steps you're taking. It will help you track your progress. “T like that idea. You know, I did that once in a while as a student. | certainly haven't done it lately, but [ know it helps.” You can start anytime you'd like. “Give me a specific day.” ‘Two weeks from today. “Great. Now I've gat a deadline. I work better when I've gat some time limits. I've got the whole week off and sometimes I'll fritter it away. So that’s probably enough for me for now. I'll call you in two weeks.”PROCESS QUES © 37 Veronica and Brian now had their first assignments. Veronica needed to use positive reinforcement, challenge her ‘what ifs’ and keep her precious sense of humor. Brian was going to start a training diary and build a routine into his daily practice schedule. He would arrange his excerpts into different cate- gories and start putting pressure on himself to perform them well in mock sessions. Although they had two distinctly dif ferent strategies, the primary goal was to put both musicians back in control of themselves and their music.CHAPTER THREE Centering NINETY MILES PER HOUR eronica and | spoke again a few weeks later, soon after V she got home from Lake George. I was curious to see how her work with energy levels and her self-talk were going, What had happened in her performances—the effectiveness of her strategy and her ability to incorporate it into her singing—was going to be the template from which we moved forward. “Hi, Don. How are you?” Just fine, Veronica. It’s good to be home. How did it go in Lake George? “Pretty good. Things went well, but it was really hectic the Jast week. A lot of rehearsing, and then we had the double billing after the second opera opened up. It was pretty good, though. It was a good experience up there; it’s a nice place to work.”41° AUDITION SUGC Did Gianni Schicchi go well? “Well, the first performance didn’t go that great, but the second performance did. So at least we left on a good note,” she laughed, “It was pretty stressful.” Were there only two performances? “Yes. The two shows. But it ended up great so I look back at it with good feelings mostly, Compared to other places I've worked. So I’ve just been home and working on some of the stuff we talked about, It really did help me through Gianni Schiechi and the remaining performances of Rigoletto a lot.” Can you be more specific? “Well, before any performance, I was very concerned about what th dience would think of me. I wanted to make sure T would do stuff they would like, It was kind of going on subconsciously, but | thought, “That’s not going to help me perform the way I need to if ’'m worried about what they're thinking’ So at least I really, really tried to see that that was what | was feeling, and to try and just push that away. | think it did help, that I could give myself permission not to have to worry about what they were thinking. And it worked up there in Lake George.” ‘Great! “Where it didn’t work though, was in a couple of auditions that I did this week, Because I thought, ‘Hey, great! I'm good now! No problems. I'll be able to deal with it and not get nervous and not lose focus.’ But in an audition yesterday, I sensed that when I was singing, the people listening to me weren't interested, And that made me lose my focus on what Iwas doing. It made me think that what I was doing was uninteresting, In the second piece I sang, they were interested, so it made me more interested in what I was doing and I felt better about what I did when I knew that they liked what I did.CENTERING * 41 But I wasn’t happy that [ had to have their approval of what I was doing in order to perform well.” What was this an audition for? “Tt was for a management/agent type of thing.” ‘When you say that you sensed that they either liked it or they didn’t, what do you mean? [I wanted to get a better idea of what actually distracted Veronica. | “Oh, just in their interest. I could see that they were looking around. I don’t know exactly. ‘They just didn’t seem interested. Looking around, doing other things, possibly thinking about something other than me singing.” Tye got you. And the second song was better? “Yes. I could see that they were paying attention and smiling and thinking ‘Oh, yeah! We like this” | found out afterwards that they didn’t think I should be singing the first piece. They did think that I should be singing the second piece. But I don’t feel that way; | feel like I should be singing, both pieces. One is slow and romantic, and the other is light and playful. They make a good combination.” Are these pieces you chose or ones that they ches “I chase.” But you felt fine with both pieces before you went in? It was obvious that the pieces themselves weren't the cause of the problem. “Yeah. I felt fine, perfectly fine. But I know that their interest in what 1 was doing affected my performance. I was upset that I lost my focus so easily.” Well, focus is an issue that we haven't talked about yet. Do you have other auditions coming up?#2 © AUDITION § “Yes. A big one coming up on Labor Day weekend, I'm going to Chicago.” And what's that one for? “For the Lyric Opera of Chicago. They have a program for young artists. They auditioned a bunch of people in May and June. Then they have a final round where they fly in twenty people and have them sing for the arti company.” director of the Veronica had a chance here to win the final round of an important audition. This was a critical point to bring everything together, including improving her focus When do you want to start preparing? “Oh, as soon as possible.” We both laughed. Let’s go back to our discussions. We talked about process cues like ‘relax’ and ‘breathe, and that these are better than the ‘what ifs” “keep on thinking about how you said that my activation runs at an 80, and that’s what I felt yesterday, [ am just too hyper right now. | have to calm down, What we talked about worked for me in Lake George. I was able to calm down. This audition yesterday, [ didn’t know how to calm myself down. 1 tried everything. [didn’t know what to do.” When you talked about the first and second perfarmances of Gianni Sehicehi, you said the first one wasn’t so good. Why? “Thad a hard time in the first performance really just focusing on what I had to do, | kept thinking of what was going wrong with other people in the east and | also kept thinkin ‘Oh, the audience isn't enjoying this” or ‘I didn’t sing that as well as I should have.’ | just couldn't do the job that I had to do.”CENTERING # 43 So you were worrying about other singers and also about the andienee? “Yeah. Just fecling like 1 wasn't making any kind of impression.” And what made the second one different? “With the second one, | felt the audience was enjoying it and people around me seemed to be a little more excited about doing it. I just focused on what I had to do. ‘This related directly to your ability to focus internally on the performance, as opposed to what's going on around you. Do you understand what a preperformance routine is? “No” And we didn’t talk about Centering cither, did we? “Na.” She shook her head. So when is your Chicago audition? “It’s a week from Saturday.” How many pieces do you have to prepare? “Four in total. One's an aria from Carmen (and one’s a Bernstein). And then there are two Rossini’s.” Ok: “One is much more lighthearted and one’s more serio How can you differentiate between the two Rossini’s? Can you rank them in terms of how confident you are when singing them? Say the aria you're the most confident about is a one, the next one is a two, the next is a three, and the ‘one you're least confident in singing is a four. Can you do that? “Sure.” She thought about it for a second. “The serious Rossini would be a one, the lighthearted Rossini would be a two, the Carmen a three, and the Bernstein a four.” And you have all four of them memorized, and you're singing them all?44 © AUDITION SUCCESS Yes." Good, When I talk about a pre-performance routine, I’m talking about what you do in the last ten or fifteen minutes before you go on, whether it’s on stage for a dress rehearsal, a recital or an audition. The last ten or fifteen minutes. “Okay” For each of those pieces, I want you to come up with cue words that are meaningful for you, words that help you to sing them well. Or about how you sing when you're singing your best. Take the more serious Rossini. Give me twa or three words that capture either why you sing it well, what you need to do to sing it well, or how you sing it when you're singing it well “Oh, I see. So how... ?” It goes back to the cue words, which for you were ‘breathe’ or ‘relax. But these need to be more specific for each individual piece. “Okay. So two or three words about what it’s like when 1 sing it well.” Or what you need to do to sing it well. Try not to get too technical. It is important that process cues be separate from technical music jargon. “A process cue for each arin?” Yes. But now for the toughest one. “Uh oht” she exclaimed, laughing. First, | need to teach you a process to bring your energy down. Have you done any type of meditation or relaxation training? “Uh, not really.” Okay. You're about to learn.TERING * 45 “Oh, God.” She laughed again It won't hurt! The good news is that you already know how to breathe from your lower abdomen. Because this technique, known as Centering, is based upon proper breathing technique, “Okay.” For the next couple of days, I want you to lay on the floor and put one hand on your stomach and one hand on your chest, unless you can just do this automatically. Do this deep abdominal breathing for three, four, or up to len times a day, with your stomach rising without your upper chest moving. ‘The first sequence of breaths is proper abdominal breathing for up to ten breaths. Breathe in through your nase and out slowly through your mouth. That’s step one. [Veronica jotted this down.] Number two is going to sound a little bit weird to you, unless you've taken Zen, “No, [ haven't” We both laughed. Okay. You're going to have fun with this one. It’s going to be a little bit of a challenge. Have you ever heard of Chi, the life force, or Ki? “T've heard of it.” Well, it originates from your center. Your center is defined as two inches below your navel and two inches into your body, “Okay.” So lay on the ground and put your hand two inches below your navel and push in a little bit so that you can define that point. And then while you're taking those ten breaths, bring your focus to your hand and be at your center. Get out of your head and into your center. If it helps you to close your eyes, then close them. Leave the external surroundings, get out of your head and get inside “Thats probably a bit difficult.”doe AUDITION SUCC ss This is your challenge. Don’t get critical about your performance. ‘There are no right or wrongs, You're not supposed to nail it the first time. “Okay. Tunderstand” So have some fun with it, and we'll see. Does that sound all right? “Sounds good!” ‘This will be a big part of your preperformance routine. It ll help you relax more and get more focused after you learn how to do it. So we've got to go through a learning sequence and what we're doing right now is just doing parts. These will be parts that we'te going to build on. In the meantime, play around with it. Does that make sense? “Yeah,” Do this several times a day “Do it every hour?” You can if you want. [We both laughed.] And also come up with process cues for cach of the four pieces. “Okay. Can I call you on Friday?” ‘That's good. Please get a pad ora little notebook and keep some notes on this stuff, and if something comes up, you'll remember it when we talk next time. “Yeah. Great! So I'll talk to you on Friday.” MLESS Brian and | got together again two weeks later, and I was interested in finding out how his practice sessions were going,CENTERING He quickly brought me up to date on his progress, starting with his training diary. “Well, I started my training diary. It was kind of sporadic. Saturday I hardly did anything. My gig on Sunday was interesting because | had written down that | was playing first and it was relatively early in the morning. I had to play out more than usual, giving downbeats and stuff, and P'm not always comfortable doing that. I practice that kind of thing but don't enjoy it tea much. | wrote down some good things and some bad things that pretty much mirrored my physical and mental state, Some stuff was great and some stuff wasn’t, but 1 managed to maintain control, which I considered a victory. It’s not so much being nervous as it is that I use too much tension. | think I've been able to differentiate between the two.” Good. What does the tension feel like? “When I take my air, I start shaking, And then I start worrying about it and it gets worse. So what I did in the Gabrielli, I was shaky during the whole Gabrielli, ,.. I don’t know what set me off, but I just kept going. I didn’t miss any notes because of it and I didn’t let it get any worse. But I didn’t have the skills to get it any better, so the whole piece pretty much remained like that.” So you take in air and that makes you feel shaky? “I probably don’t take in enough air and that’s part of it. It’s kind of a vicious circle. If you don’t take enough air and you use feo much tension to play, your muscles start rebelling, T suppose.” And where do you feel that? Which muscles? “Well, where I feel it is in my lips. Like, if] take a breath and I'm reacly to play, it feels like the embouchure isn’t steady.” And what do your chest and shoulders feel like? 24718 © AUDITION SUCCESS “You know, my arms will feel a little shaky also, from the tops of the shoulders down the arms, and when you feel like that, you stop breathing because you start focusing on your shakiness rather than what you ought to. What I tried to do was continue to focus on my breathing. | couldn’t get it any better, but I prevented it from getting any worse.” While that’s going on, what are your thoughts? “Well, it kind of surprised me. My thoughts maybe a year ago would have been, ‘Oh, great! Here it goes again!’ But I made a concerted effort to just say, ‘Okay, Here’s what’s going on. You know what to do! [ hadn't practiced enough to calm down and take better breaths. [ did it to some extent, but not enough apparently to combat it effectively and bring myself back to normal. But I did prevent myself from getting any worse, so it was really not that bad. I noticed it, but I don’t even know if anybody else noticed it. And I didn’t miss any notes as a result of it, which was defnitely an impror Gooel, What else did you follow up on? “[ had a couple of things that I want to discuss with I wrote some notes. Although yesterday and so far today, I've made improvements, in general, | need ways to incorporate more mental work and visualizing into my practice routine. Even though I discussed that with you before, I know that I don't need to go see a teacher, I know everything I need to know. I've studied with the best and I've got notes and lesson tapes from the best teachers in the business and they taught me well, but for some reason, I don’t seem to do these things. I don’t follow the notes and I don’t do enough mental werk. I'm definitely you. physically oriented, and I've had a number of the teachers tell me that. That's not all bad, but yesterday I really made a concerted effort to incorporate more mental training into my practice.” Does it feel good when you do that?CENTERING “Yeah, it does. For example, for Monday I wrete down thirty minutes of notes in my training diary, then I did an hour of audition practice with some relaxation thrown in. I did fifteen minutes of just experimenting. | was watching T'W— practicing with the television on is good ence in a while—and I played part of a lick that I've been having difheulty with. I just tried to run it through different variations while not focusing on it. Then 1 did twenty minutes of listening to the only time that I did the audition prep training, the one that we talked about two weeks ago. I listened to that. I did it on Thursday and finally listened to it yesterday, And then I did forty-five minutes of solid practicing. And how did all that feel? ome good things and some bad things. | was mostly picking different sections of each piece apart. | focused on a couple of licks and did them in different ways. I had the metronome going and taped things a couple of times, | would have to consider yesterday a very good day. But lately, I've had a lack of motivation. Part of it's because | had viral pleurisy in my tight lung and that knocked my whole vacation off. I wrote down, ‘I know what to do. Why am I not doing it?” in my training diary.” What's the answer to that? “Tm not motivated. I know what to do but I'm not doing it because I'm not motivated, | also put down a lack of focus and organization in practice. I need ways to add structure. [ was going to look to you to help me. Maybe if | organized my taining diary a certain way and got a practice routine going, the two would help each other.” You might want to commit to following a routine with your practice “Which I do nothave. My practicing has been sporadically 4950 © AUDITION SUCCESS brilliant, like getting ready for an audition. But in general, I have really fallen off the habit of organized routines.” Are you ready to start now? “Yes, Actually, I kind of started it yesterday, but | want to keep it going. So give me some parameters.” I shook my head. Well, I can’t. You're the only one who knows them. When you decide what it is, commit to it, write it down, and follow it, A regular length of time and a general structure of what you want to do within it. It’s important that you structure your routine according to your own personal needs, I can't do that for you. “Okay, One thing I did that was positive was that I took my clock off the living room wall. And what I do is set the alarm and say, ‘Okay, 'm going to do such and such minutes? and then | don’t look at the clock or my watch until the alarm goes off. [ find that that’s effective.” ‘That's good. Now that you've arranged a time frame, you need to implement your goals. The other thing, Brian, are your goals really clear? “No. I mean the long-term goal is going to the audition and getting the excerpts, but that seems somewhat vague in a way, because I don’t seem to be able to practice effectively toward the long-range goal.” You need to make them more immediate and real. Even from now until next week. “[ see. In the one audition training session that I did, 1 divided everything up into the ones, twos and threes. I had one as ‘Very Confident, two as ‘In Progress,’ and three as ‘Challenging’ These could be more immediate goals, The second category would be the most lengthy, but I put a good number in the first. There are still a few problems with a coupleCENTERING of those. If I'm very confident about them but I can't play them in my sleep... 2” ‘Then they go in with the twos. “It’s funny, | wound up having another category between one and two. Maybe I could use that as the repository for the ones that I'm very confident about but that still have a glitch or two. So that could be one-a. Those are close but not quite And then the twos would be ones that] definitely can't play the first time and feel confident, and the threes are the ones I'm having difficulty with.” Challenging, not difficult, remember? “Yeah, challenging. Well, | think that I say that because I figure I should be able to play all of them.” Do you know anything about Centering? “T know something about it. Basically just try to clear your mind of all other extraneous thoughts. Let them flit about, but don’t give them any real power and just focus on what you really need to focus on, which for me would be what [ want to come out of the hom. Instead of worrying about shaking or not getting a good breath, I should think about the next note I want to play and focus on that as much as I car ‘That is a good description of how it works, But let me describe a step- and use. -step process that you can start to practice “So this isa step-by-step routine?” Yes. But it takes a minimum amount of time. Basically, you're going to take three deep breaths and simultaneously engage in three different mental processes. With the first breath, on the inhale, you think about a full and deep breath. elAUDITION SUCC “Okay. I'm and paper. saing to write this down ” Brian grabbed a pen On the inhale, breathe slowly in through your nose, and pay attention only to your breath. “Okay, so on the first breath, inhale fully, focus only on. Getting a good breath. “Good intake. Okay.” On the exhale, let out all the muscle tension, Drop the energy and make your arms, shoulders or neck feel very heavy or loose, “Okay, focus on relaxation. . Letting all the tension out with the breath going out. On the next breath, be at your center, And this gets a little bit esoteric, but it simply means your center of mass or center of gravily. It’s two inches below your navel and two inches into your body, toward your backbone “TIL try and visualize that.” Oractually while you practice, put your hand there and try and bring your mind down there. Get aut of your head and into your center. “T’ve heard this. The Yoga books I’ve read mention it, that’s it’s supposed to be the center, Because when the Yogis were breathing it seems that everything is focused there. Okay, so on the second breath inhale and exhale?” Yes, but focus on b breath, on the intake, say a positive word er phrase, a process cuc that captures your best playing. Something a teacher would say to you that’s really positive about performing your best, but gat your center. On your third not necess ily something technical.CENTERING * 53 “The one I'm using right new is ‘relaxed and confident? How’s that?” ‘That's okay, but the relaxed part is going to come with the frst breath, Let me give you an example and then ask you to find a better ene. Maybe something like ‘flowing’ or ‘smooth’ or ‘pure’? I don’t know “So it would be one or two words that are positive, One that did work for me was ‘seamless.’” There you go “This was fora specific problem I was having. I was putting a gap between notes in a particular passage, so | just focused on ‘seamless’ and did the same thing. It came out right. And there are others I can use.” Find one for the next week and use it, “Exclusively?” What I don’t want you to do is be sitting there searching for it when you're in the process. Come up with one and try it out several times, and either use it or find a better one and use that one. “Okay. And the positive statement should be about what?” About how you play your best or whatever word captures what you need do to play your best. “Okay. And this is on the intake of the third breath?” Yes. And while you're doing these first two-and-a-half breaths, try to look at a nondescript spot on the floor and defocus your eyes or just close them. “Closed eyes works better for me, at least now.” Then, on the exhale of this third breath, open your eyes and turn your focus or energy out, Direct your full attention to54 * AUDITION SUCCESS ‘ou focus your energy out, li gto actually say it, but think it a specific point on the stage ‘Here it comes!’ You're not goi to yourself. extending Ki or Chi?” Exactly! “All right. So this is something I could do anytime?” Practice it several times in the next few days, Whenever you feel a lot of nervousness come on, let this be your response. When you're doing your audition prep excerpts, you can use it tight before you go in. After a few days, you'll get comfortable with it, Then put some extra pressure on yourself and use it to play well. “I practice for a few days in neutral and then crank it up? So I'll be starting that kind of practice before I talk to you next time?” Right. Imagine yourself playin audition or te na tough situation or an out one of your pieces and have this be your response to it. “Or I could try and get the physical manifestation going by running in place and then seeing if I can get my heart beat down and get relaxed, because that’s often what it feels like.” Now we're talking. That's it. Try to induce the physical reaction, then use the Centering to deal with “Okay. I will practice that. It will be a good way to start before every practice session or rehearsal. I've got a rehearsal tomorrow morning, so I'll go over this a few times. I'm playing first hom unassisted on the Britten War Requiem and of course I want to do well. That will be a pressure situation.” So play with it today ane find a way that will start to work for you,CE RING © 55 “So what you want me to do is practice this and commit to doing my diary and my routine. 1 made a good start on that yesterday and today.” Good, keep it going “Pll let you know about all this and hopefully [ll be prepared to read you my practice routine next time we speak.” Super! This is the kind of motivation I needed, a little push ‘Thanks You're welcome, Brian. Have a good week. As you can see, the process of Centering is so essential that it should be incorporated into every performer's daily routine Both Veronica and Brian needed more control over their performance energy, and the ability to Center would allow them to play around with various levels and thereby leam how it feels to go fiom a higher energy level to a lower, more controllable one, ‘This powerful technique eventually becomes second nature during important performances. When its done correctly, it can have a profound effect on one’s energy, focus, and competence under presstire. Centering comes from the Japanese martial art of Aikido dl from Western psychology, [t was developed in the seven- ties by Dr. Robert Nideffer, an Olympic sports psychologist who had studied Aikido in Japan and cared his black belt. He was my mentor. His technique has proven effective with com- petitive athletes and it continues to be a chosen strategy with world-class musicians and even top business executives. After eighteen years’ experience using it with elite performers, Centering remains the single mest effective tool I've found for preparing elite performers to do their best under pressure.CHAPTER FOUR From Your Center THE HUB OF THE WHEEL ow that I had introduced beth process cues and Centering to Veronica and Brian, it was time to start integrating the IIs i meant foe two s nto their specific performances. For Veronica, this ag her energy in her center and then singing from this energy source with the help of her process cue. But first, I wanted to see how she was doing familiarizing herself with the entire Centering process. This was three days after our last call. I want to go back to my notes of our last conversation. Let's start with the breathing. Tell me about how it went. “Well, it was pretty good. I liked doing it. With about half of them, I wasn’t thinking of other things. But I can’t say that 1 ever completely left the external surroundings.” ‘This isn’t supposed to be an out of body experience “Oh... ” She laughed.38 * AUDITION SUCCESS But it is supposed to get you less distracted or less concemed with oulside things and more focused on one point. “[ would say that I definitely did that four or five times, and then thoughts would ereep in.” ‘Was it arduous? “No, no.” We're going to build on that then. I first needed to see whether that was unpleasant, uncomfortable, or impossible for you to do. “No, it wasn't.” And it sounds like you could do it. “Oh yeah!” ‘Then you just need to practice it a little bit more for the next few days. So that’s good; that’s step one. Did you feel, for those four or five times, that you actually got out of your head and down to your center? “Uh. ... yeah. ... [ think I got a little piece of that.” Well, since this is your first experience with it, you're off to a good start. “Oh good.” Did you come up with the cue words for thase four pieces? “Yeah, I did. | hope | diel it all of them. Is that oka ight. One word is the same in We'll see, ‘Take me through them one at a time. “For the serious Rossini piece, | wrote down that when I'm singing it best I fecl ‘calm’ and ‘connected, and my voice is ly throughout. | don't get overexcited at any one place. When I'm singing it, I feel like I'm alone and I become unaware of people listening,” ‘ste:FROM YOUR CENTER © 59 We're going to need to get to that one, because that pertains not just to these pieces, but to your inside-out focus. That's fantastic! “Oh good.” And the other Rossini piece? “Lthink about ‘words’ or ‘text’ and also ‘calm’ or ‘in control’ and that same feeling of being alone.” Okay. What do you mean by “in control”? ‘Well, the piece has a lot of fast singing in it, yet I never feel like it's a runaway train. I'm still singing every note, even though it’s really fast.” Wonderful! So pick cither ‘words’ or ‘text? Which one would it be? “Oh... ‘words.’” So there are two good ones, ‘words’ and ‘in control.’ Super. Then the Carmen? “Okay. I don't know if it makes sense, but when I'm singing it very powerfully or speak strong and really simply, I’'m not doing anything too much, and I’m calm.” ‘Strong’ and ‘simple’? “Yes, And the last one was Bernstein, And I’m ‘absorbed’ in it and ‘connected’ That’s all I could come up with. But I used ‘connected’ already. ‘That's not a problem, But as opposed to the other three pieces, this one doesn’t sound like you're as far along and committed as the others. It still sounds like you'te searching a little bit. “Well, it’s funny... because it’s the easiest one to connect with emotionally, but it is hard to sing. But I never have a60 © AUDITION SU problem getting absorbed into it. | ean get absorbed into it pretty easily and I don’t get as distracted when I sing it.” ‘There's the inside-out focus. “But it is the hardest to sing,” Why? “Voeally. It has some veeal things that are difficult.” Okay. Think about this for a second. Let’s say you go to a great teacher or a voice coach that you really respect and say, ‘Tve gat a question for you. This Bernstein piece is difheult. San you help me with it?’ After they listen to you sing il, what would they say for advice to help you get past the difficult part? “Hmm. I guess when I go through the difficult part, they would probably say that | was acting like [ was scared of it, so Twas cutting off my voice and not singing as well as in the rest of the piece. So I would need to... ?” You're right on track. I’m hearing ‘scared’ and ‘cutting off your voice’ So what is the correction? What would they tell you to do instead of being scared? “Well, it’s like in the Carmen ... because there was the one place where I came up with ‘strong’ When I thought I had to be even more powerful, I was able to get through it.” Aaaahhhhh. “So its probably the same thing.” Okay. So could we say ‘absorbed! and ‘strong’ or ‘powerful’? “Yeah! That's good!” We're there. We'll come back to those later. “Okay.” Let's go to the issue of your awareness of other performers,FROM YOUR your concerns about the audience, and being distracted by outside things. They all go together. Do you buy that? “Yes! Imagine yourself standing on stage. See yourself as the center of a hub, the middle of a wheel, standing in that center. “Okay.” Now there are all sorts of things that ean pull you out of that center, whether it’s your being aware of somebody watching you, somebody making noise, someone opening a door and coming into the hall, or your being too concerned about the audience. These things will pull you out of your center and put you into an outside-in orientation, But you want to be singing from your center, from inside-out. “Yeah.” It's like a bicycle wheel with spokes going out. Everything outside tends to pull you out of your center. Instead of seeing that image, see yourself now standing on the stage and being able to get centered and then singing from there. Do you see how that works? “Yeah.” Hold that thought. Now from that place, you can project your voice out to where you want it to go, rather than be involuntarily pulled by outside things. So you can project your voice out, but you stay at your center. “That's hard to do because you have to trust that your voice is actually going to get out there, without jumping up and down and screaming.” So you need to trust that your voice will get out there? “Yes, Without doing extra things.” NTER © 6162 © AUDITION SUCCESS Such as...? “Like, I think I sometimes do things with my body. Ill stick my head out sometimes, or take a step or just have a general posture that’s leaning forward. Just a further assurance that Pll get out there, but it never helps.” Singing from your center is very powerful and it’s one of the most helpful things you can do in performances and auditions. “Oh yeah, my audition. ...” ‘Tell me again about the audition. “Ips in Chicago, [leave a week from today and the audition is a week from tomorrow. It’s for the Lyric Opera of Chicago Young Artists’ Program, and it’s the final round.” So you've already been through some of the others? How did they go? “Okay ... uh... let’s just say they were okay auditions. I guess they were abviously good enough to get to this round, but they weren't the best,” How many people are trying out? “There are about twenty. I don't know how many positions there are. I assume they'll hire four to six people.” Well, Il give you a few more things to do right now and then we're going to make sure that they work. When you're not singing well, what muscles or parts of your body are tight? “When I'm not singing well, usually I have all kinds of neck and jaw tension, and I can’t get my abdominal muscles to make any difference in my singing, I just can’t, no matter how much I try.” Because they're too tight?FROM YOUR CENTER © 63 “Yeah, Because it doesn’t matter how much air I ean push up. [t's just net connected. And if my jaw’s too tight, it’s not going to get through, It’s like being very uncoordinated.” And when you're singing well, your neck, jaw and stomach are all... what? “They're all working but they're much more flexible, and my posture’s better.” When you were doing your breathing, did you feel that you could just as easily do it sitting up? “I think I could.” Okay. Take the breathing from lying down to doing it sitting up, but certainly with good posture. “Okay.” Then take nine good breaths. On the first three breaths, as you breathe in, pay attention to your abdominals and getting a good breath. It might help when you're doing this to close your eyes. On the exhale, consciously relax your neck and jaw for three breaths. So on your inhale for those breaths, you're working on your stomach. On the exhale, you're working on being flexible and relaxing your jaw and neck. I'm not talking about getting sloppy and loose and letting your head fall, but finding the right level and being relatively relaxed. So does that make sense? “Yes.” For the next three breaths, be at your center. Think of it as your base. It's a very powerful place to sing from. That's where martial artists, like in Karate and Aikido, fight from. “Oh, really?” Yeah, They don’t fight from their head. They fight from