Practicing in New Environments

I feel completely comfortable practicing at home, but over the past couple of years, trying to practice in a different environment around different people has been torture. I guess it’s due to the fact that I have been so self-conscious of late, and I also keep thinking about other people listening to me practice and imagining the negative things that those people must be saying about my playing. It’s a vicious cycle, but one that I am facing once again as I have to end my summer vacation.

In recent years, I used a practice mute in order to allow myself to feel comfortable playing in public. Of course, using a practice mute on a regular basis isn’t the greatest of ideas. Those torture devices can not only mess with your intonation, but also wreak havoc upon your embouchure.

All jokes aside, I do feel a lot of anxiety when I am practicing or warming up around other people, musical or non-musical. Of course, the only way to get over this issue is to face it head on, so I will be forcing myself to practice in more “public” situations over the next few weeks. Once I get used to practicing in public again, I will be one step closer to learning how to positively cope with my anxiety.

I really thought that I was past this stuff. When I was in graduate school, practicing where other people could hear me wasn’t a problem. I do, however, recall some instances on the audition trail that caused my “practice” anxiety to resurface. One happened at an audition for the Canton Symphony in Ohio. This was my third professional audition, and it was my first time driving through Ohio. I got lost and was running late to the audition, so things were already stressful. Once I got there, the warm-up room was just an open room. There were plenty of other horn players sitting around and talking, but no one was playing. I was afraid to be the only playing in front of all of these people. I didn’t want them to judge me, and I could already hear their criticism in my head. Needless to say, since I didn’t really warm up before the audition….it was pretty terrible. I learned two valuable lessons that day. One, leave really early when travelling to an audition. Second, make sure you warm up before playing an audition.

There were other factors that led to that horrible audition, but my anxiety and stress levels were very high, leading me to have severe dry mouth, shortness of breath, shaking, etc. At the time, I addressed some of these issues, but they have resurfaced and magnified since my injury. I know that my anxiety is mostly a mental manifestation of my thoughts and fears. During graduate school, I was able to overcome a lot of these anxious feelings and thoughts by being prepared and being positive. I have not been very positive about my playing since the injury, and I wasn’t practicing much, so I shouldn’t have been surprised when I started to fold under the pressure.

Now, I have a regular practice routine that is pretty extensive, and I am learning to be more positive in my approach to playing the horn. Whenever I have a negative thought, I try to replace it with a more positive thought, or at least something that is constructive. I am a self-described perpetual pessimist, so I feel that most of my battle is learning how to be optimistic. Changing a natural tendency is never easy, but I am up to the challenge, so we’ll see how the “pessimist to optimist” journey unfolds.

Remember: Be positive, Don’t worry about what other people think, and Use your air!

My Personal Experience with Embouchure Overuse Syndrome

As with any musician who has been in a similar situation, I never thought, never dreamed that this would happen to me. About five years ago, I suffered a playing injury that lingered for far too long. For roughly six months, I couldn’t play without feeling pain or a sense of mild discomfort in my upper lip. The injury happened during the second year of my DMA studies at West Virginia University, and I didn’t have time to wait around for it to heal. Now, I could still play at a very high level even though I was constantly feeling pain or discomfort. I performed principal on Mahler 1 and even won an orchestral audition while this was going on. Unfortunately, it lasted so long that I decided to start tinkering with my embouchure in order to attempt to relieve the discomfort. However, when the discomfort finally disappeared, the damage had already been done. My embouchure felt weak, and I didn’t have the same strength and endurance that I had enjoyed before, which led to even more tinkering. Thankfully, I was able to perform my final recital and finish my degree before my playing really started to deteriorate.

Due to my tinkering, I have endured a tumultuous relationship with the horn over the past few years. After finishing my DMA, I could still play pretty well, but I started having to work harder to keep things in check. My playing was no longer effortless, and this was due to my embouchure setup being completely wrong due to all of the changes that I had tried to make. I am one of those rare people that actually enjoys practicing, but for a while, I just didn’t even want to look at my horn. I began to practice less and my embouchure finally broke, which was not a fun experience. I even sold two of my previous instruments, because I just felt so depressed, and I didn’t believe that I would ever play again. It was rough, but for some reason, I couldn’t get away from it. I don’t think I ever had Focal Dystonia, but I do think that I changed my embouchure so frequently that I developed a severe case of Embouchure Overuse Syndrome. It was so bad that at one point I struggled to even produce a sound. I am pleased to say that my embouchure is currently back in its natural setting, but I’m still trying to gain back range and endurance.

This whole ordeal has created mental scars that have produced a level of performance anxiety that I have never felt before. I will admit that I struggled with anxiety for many years, even during my doctoral studies, but the level of anxiety that I have felt during performances over the last two years has truly left me handicapped. I think we all have dealt with the adverse effects of “dry mouth” and adrenaline, but this has been much worse. I don’t think I even suffer from dry mouth anymore. On the contrary, my body just completely shuts down. I’ll try to attack a note and nothing will happen. Loud stuff accompanied by other brass instruments is usually fine, but heaven forbid I have to play an exposed passage at piano.

These are issues that I will continue to work through, and I hope that I will be able to share thoughts and insights that might be of value to others along the way. I just have to keep practicing and remember that even the smallest steps forward equal progress.

Dr. J