“Flow” for Musicians; What is it???

According to Rachael Beesley (www.rachaelbeesley.com) Flow enables musicians to have increased enjoyment of music-making, a reduction in anxiety, frustration and boredom. It is also the ability to remain re-juvinated whilst playing, an ability to learn and absorb musical information in a deep and permanent way, and an opportunity to create a unique and individual playing style . . . . Not enough for ya??
Well then, Rachael goes on to say that Flow connects the ability to be spontaneous whilst playing with a deeper understanding of the mind/body connection and an opportunity to achieve full musical and expressive potential.

Pretty important then! Actually even back in my Uni days I remember serious discussion around the coke machine at the Conservatorium of how performers had sounded ‘stale’ , ‘jerky’ , or ‘unconvincing’ during their gig, and I know only too well from first hand experience that no matter how well prepared you are with a piece, when nerves come into the equation the game changes. Some people took Beta Blockers, supposed to work, don’t have any experience myself, others spent time studying improvised music and performed Jazz as there is no better way to be put on the spot than having to find a completely improvised solo within you.

So this mind/body connection is acknowledged as being really important to pulling off a performance in which you are connected to and able to attract your audience, thereby making them come back for more / download your single / get the T-shirt. Let me quote Rachael once more. “My personal experience of Flow is of having uninterrupted time and an inspiring space to be completely immersed in music, whether practicing, rehearsing, teaching, recording, or performing. By becoming fully involved in the creative process one loses track of time and the stresses of the world disappear and you find an inner peace and happiness” Woah – Flow sound AMAZING, & it’s just what we all need.

How can this be taught? Ideas put forward are by encouraging your students to ask themselves questions:
* How do I feel right now?
* How much energy do I have?
*Am I bored OR am I anxous?
*Am I trying to be too perfect?

Seems a little staged to be talking to musicians in this manner, but the second suggestion “How much energy do I have now?” resonates alot with me as I have had quite a lot of success with taking notice of my diffferent energy patterns throughout the day and graphing when I am at my best for practice, writing, reflecting, reading etc. Try it out. I know for instance I used to practice first thing in the morning because at Music School that’s when everyone else was doing it. Took me 10 years to figure out practicing for an hour in the morning was generally about the same as half an hour at 10 pm, as I am a bit of a night owl – go figure.

Back to Rachael. Just be aware that her practice is in helping classical and orchestral players, but at the same time these are all good ideas for you ‘touchy feely, wierd and arty creative types’ hah!

“In practicing and performing music, Flow is achieved through four basic steps: continuous contact with the instrument, developing a sense of resonance produced by the instrument and one’s body, an ease in playing which is enhanced through movement and the use of improvisation to study repertoire.
FEEL – be aware of your creature comforts
MOVE – Allow yourself to move, your body is intelligent!
ENGAGE – Be mindful of your energy level
TOUCH – Enjoy the contact with your instrument
RESONATE – Search for overtones
IMPROVISE – Play around with the music
SLOW DOWN – Enter the sound world of each and every note

How can you apply flow to your work?
* Set realistic and obtainable goals
* Awareness of your skills and abilities
* Awareness of the challenge of the goal
* Trust confidence in your own abilities
* Remove Judgement
* Remove external expectations
* Create your own space and time
* Reduce distractions and interruptions

Whadya think? Useful? I won’t rabbit on here about my thinking, but keen as to know your thoughts and if you have managed to achieve flow in a key performance.

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(Article cited: Teaching in Flow for musicians – written by Rachael Beesley, NZ Coda, June 2011, published by ABRSM, www.abrsm.org)