Author Archives: Jen

Wrapping up?

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Wrapping up?

The end of the year is rapidly approaching. You’re probably busy with social engagements, family time, practicing, decorating, work commitments, school holiday pageants, gift buy/wrap/giving (and maybe gift making?), and all the other stuff that makes up the end of year holiday swirl (miasma?).So, it is reasonable that you might not have gotten to a point where you can spend a few minutes sorting through the detritus of the last twelve months. I know it can be scary – at first blush you might think you haven’t gotten anywhere – I often feel like that about this time of year.

But there is plenty of irrefutable proof all around if you think to look for it. Let’s take stock, shall we? Here are some questions that bear consideration (they are multi-part questions):

What did you learn this year?

I know you learned something! First, what did you want to learn? Whether it was a new tune, to read better, to adapt music to your instrument, or whatever you wanted to learn – were you able to learn it? Were you able to learn more than one thing?

Now – what did you want to learn that you didn’t get to? Why was that? Are you disappointed or do you feel like you did well getting where you did? In addition, what did you learn (in everyday life) that you can apply to your playing, and what did you learn from playing that you can apply to your everyday life?

What did you practice this year?

First, what did you intend to practice? Did that align with what you wanted to learn? Did your practice serve you?

Second, were you able to meet your practice goal? Did you practice as much as you meant to? How did it work for you? How did it not? What could you have done differently? When should you have made changes? Practice isn’t a purgatorial punishment (really!). And you only have limited time, so it needs to be useful and efficient. Otherwise, you aren’t going to get anywhere.

What did you achieve this year?

First, what did you want to achieve? Was that realistic? How’d you do (maybe as a percentage, not just a yes/no)?

Second, how well stated was your achievement? Did you set yourself up for success or for failure? How could you frame it so that you could see (and assess) your progress throughout the year?

What did you overestimate this year?

First, it’s easy to make big sweeping goals but actually achieving them can be a bit of a bugaboo – it’s likely you overestimated something in your playing goals for the year. Were you able to correct along the way? Do you feel ok about your progress where you might have been too optimistic?

Second, how do you feel about the gap between where you are and where you thought you’d be? How does that make you feel about yourself? (BTW it should only help you understand about overestimating not undermine you!) Anything you underestimated? What is the difference between the things you over- and underestimated on (e.g., you overestimated reading but underestimated total number of tunes learned)?

What next?

Once you review yourself, you can ask yourself what’s left to do and how you might go about doing it. Remember that there’s nothing magic about mid-December – it’s an artificial boundary, but it is useful for taking stock of our progress and our direction.

No matter how you went about the process of practicing and playing throughout the year, you can reflect on it. But now it might be very clear why I’m always suggesting you write it down. Because if you had, now you could be looking at your notes throughout the year, your thoughts and feelings about not only the music you were playing but also about the music you would like to be able to play, the technical things still kicking your metaphorical butt, and the little joys that happen at your harp (but which recede from memory so quickly, and often before confronting the next challenge).

So, if you’re willing, please share how it went. I’m particularly curious about your gaps and the things that got in the way! And what questions we should add to this list. As always, I’d love to hear from you in the comments.

Gift Guide for 2024

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Gift Guide for 2024

It’s gift giving time. That glorious time of year when the days are short, time is shorter, tempers might be shortest of all. And it’s not like it doesn’t come along every year at the same time. No matter which winter holidays you celebrate, there’s gifting involved. And where there’s gifting, there’s stress over what to give and whether it will be the best gift given.

Well, I have a shortcut for you! People love handmade presents. And there’s nothing like the present. And when you present someone with their gift that you have made especially for them, while you might have trepidation, they are just too busy being delighted to notice.

What better handmade present than to share your music? There really isn’t one. Your recipient instinctively knows that there’s a little part of you in the music. They know you had to work hard to bring their gift into the world. They know how precious that time is – because the music is ephemeral. And they can carry it with them for the rest of their life because while it is ephemeral it is also permanent as a memory. They might be extra happy that they don’t have to find a place to put your gift (or dust it) because it will be stored in their heart/brain.

You might not have thought making music for someone is a gift, but it is. You need to value it as such. And I don’t just mean for kids to give their parents – although I have found that this motivation helps my kid students focus on learning their Christmas tunes. And I have to give a special thanks to my parents who taught me at a young age that playing for someone is a good present (although I never really believed them – until I started teaching).

Because you want each gift to “fit” you can choose from many options:

If you have a fan(s) – you can play a concert! (not kidding). Play all the tunes they love – a curated playlist just for them.

If you have a supporter – you can compose a tune for them (or an improvisation – you know a composition that you don’t bother to write out fully). Play it one off (with a heartfelt, “I made this for you!”) or make it part of the concert you give them.

You can make them a recording to take with them. Good quality recording is available easily now so you can probably make a solid attempt with your phone and a quiet room. If you really want to make yourself crazy, you can use a free editor to put the whole thing together.

  • Really a glutton for punishment? You could use that recording to make a video with pictures and snippet videos embedded with the music. Use graphics that share your thoughts and feelings about the music (e.g., you could find some video of eagles on the wing to pair with a soaring melody or a photo of a fire for a cozy tune).

If you’re crafty, you could go in other directions and still reflect your music.

You might have an admirer who listens to you practice all the time. This might make you feel like a performance isn’t a good fit. How about decorating a score and framing it? Use the dots from one of their favorite tunes. This can be plain with just the score in a frame, or you can literally decorate it by making a picture from the shape of the melody. Or you can draw and paint on the score as a canvas. There are so many possibilities!

You could knit a scarf that represents the music of their favorite tune. I thought of this when I watched my friend make a “sky scarf” that reflected how sunny, cloudy, rainy, or snowy the day had been. No reason you couldn’t also knit the “story” of your music! Chose the colors that you “hear” to reflect the mood of the tune and (if you’re a better knitter than I) even change stitches to reflect the shape of the melody.

How about a bake that incorporates the tune? Shortbread would go with absolutely any Scottish tune. Soda bread for your Irish? Cream horns to play hornpipes? Sacher torte for your favorite Viennese waltz? You get the idea. You can have a tea party or refreshments for your concert.

That’s just a few ideas to help move your holiday gifting along. I know you have other, better ideas. Let me know what you’ve made or are planning to make to share your love with your giftees – leave me a comment (you know the drill).

Follow through…

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Follow through…

I love it when you ask me questions! They are always good, they make me think, and they give me something to share here! (hint hint – if you have a question, I will do my best to answer you).

One of you recently asked a question and I wanted to share it. I want to highlight it now because it’s the holidays and this seems to be a time when other people have no compunction asking you to play for them – for money, for free, for whatever. It’s just likely to happen around this time. And, frankly, it’s hard to say no – because it’s the holidays and who says no to heartfelt requests at this time of year? I think it’s hard to!

So, what was this problem – let’s hear it from you:

Here’s my latest issue- I’m having problems at the end of pieces during a performance. I almost always bungle the last few notes and end up playing the wrong chord or nothing at all. I think I lose focus because I’m almost done. Should I memorize the ending? Practice it more? Take drugs? Let me know what you think.

Great question! If only because it happens to us all.

You might be tempted to assign blame to your aging brain, or lack of preparation, or nerves, but I don’t think that’s it at all. Will it take drastic measures?! Nope!

Here’s my answer:

You might be suffering from “get-home-itis“. What’s that? Well, that name for it comes from aviation where it is often not just an embarrassment – it can be fatal.

Get-home-itis happens when you can feel the end is coming. It’s pretty exciting – whether you’re flying home after being away or closing out a tune (or program). But get-home-itis causes you to shift your attention away from what you’re doing, and instead think about what will come after that. It can be momentary. You might not even know you’ve done it. But it’s just enough of a shift to make you bungle, and leave you shaken, frazzled, and embarrassed (which one can argue is better than actually being dead – even if it feels like you’d like to die right there on your bench).

So, how do you get over a case of get-home-itis? It’s actually fairly easy and much more comfortable than bracing yourself for impact!

  1. Memorizing your piece is a good place to start. That’s more for the reality that if you’re shaky going into the tune, you’re going to come out worse for wear at the end. Doing significant preparation will mean not only memorizing the beginning but also nailing the end. To do this – don’t always start at the beginning when you’re practicing. Break out portions of the tune that are not going smoothly. A strong start will encourage you, but the finish is what your audience will remember.
  2. Practice thoroughly. This will, of course, support memorizing the tune (because the more you practice it, the more facile you will be with it – all the way through). And extra preparation never killed anyone. Unless you’re being paid to deliver a specific tune, you should always feel free to shelve something that feels shaky until it’s actually ready.

Here’s the biggie:

  1. Think of your tune as having a follow through. Picture focusing on the end of the tune and its follow-through (like a golf swing, bat swing, doing a grand jete, or using an egg whip). The follow through includes not just the last note of the tune, or even the final chord but also your final gesture, the breath you take (and release), and putting your harp down. If you’re having trouble picturing this, think about how a beginner ends their tune – they typically spank their strings and we’re done – no follow through. Train yourself to think “through” the tune, focusing on playing all the way through to the end. Don’t skip a (brain) step between where you are and the end of the tune – picture all the notes, dynamics, gestures, phrasing – all the things. And remember that the end is not when you stop playing! Rather, it is after the final gesture, whether you muffle the strings and/or put the harp back on all four feet. T-h-e-n you’re done.
  2. All of this is in aid of focusing on what you are doing. Don’t be thinking about how glad you’ll be to get off the stage. Or what flavor ice cream you’re going to have on the way home. Or how many more times you’ll have to play this tune this season. Or even how tired you are and how much you just want to go home. Keep your head in the game! We’re not done here – not until the last ringing of strings is hovering in the air on the bated breath of your delighted listeners. Only then are you finished playing that tune. Don’t pull up short! Commit!

Stay present. There is only this moment. Later moments will have their own time – after you follow through on this one. No need to be thinking about what comes after – enjoy this right now.

I’ve sort of avoided the topic of taking meds for this. If you experience crippling performance anxiety, then you should definitely seek professional help, and medicine might be part of that solution. However, if you find you’re only a little anxious, I’d point out that you’re human. If it’s just a frisson in the pit of your stomach, breathe. * In addition, while medicine might take the edge off – equally it might cause you to lose your edge. Then you have a different problem (not playing like your usual self).

Whether you have experienced this or not, give it a try and see if the end of your tune isn’t just a little bit better when you purposefully follow through. As always, you know I want to know what you find! Let me know in the comments.

 

*I’m not a psychiatrist, nor am I opposed to using medicines if needed. Feeling nervous before performing is normal – in fact, one could argue that not feeling nervous is not a good sign). If you aren’t sure, try this (not very rigorous) self-test – next time you’re feeling anxious before performing, do some breathing (deep inhale for 4 counts, hold for 5 counts, exhale for 8 counts a few cycles). If that helps (your head clears a little, you feel less like throwing up, and you can remember how your first tune starts!) then try to go it unaided. If it doesn’t help, definitely find a physik to help. Don’t ask me how I know this.

Happy Thanksgiving!

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It’s that time of the year when we take a beat to be grateful and thankful for all we have and all we have been spared. I hope you know that I am grateful that you share your time with me. Here, I made this to share with you.

Happy Thanksgiving

PS – looks like I might be back in business publishing blog posts here on the website. Thank you to all my subscribers who have hung in there while we got this worked on! I’ll get caught up on previous posts soon! Until then – let me know what you think of the email or if you prefer to read here on the blog. I always appreciate hearing from you! Let me know in the comments (yay – so glad to say that again!).

Woohoo Summer!

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Woohoo Summer! 

This week Summer officially begins. Where I am, Summer will start on a day that is predicted to be nearly 100oF. Yay.

But when Summer starts like that, at least there is no confusion – it’s definitely Summer, no lingering doubts.

And certainly no time to stay home! Because Summer is also time to get out and play! I’ll be doing a couple of things and I hope I will see you there. Here’s where I’ll be for the next little bit.

At the end of June, it’s time for the Ohio Scottish Arts School – YAY! I love so much about OSAS – the people, the format, the tunes, the silly games, the hanging out with friends, the playing music, the comradery, the tradition. I’ve been going to OSAS as a student or a teacher from the very early days of my harp life and it’s like coming home. I’m so delighted to be teaching with Wendy Stewart, Kelly Stewart, Tiffany Schaefer, and Haley Hewitt! And a number of you will be coming which makes my heart happy – to see old friends and to meet friends in the flesh for the first time at Baldwin Wallace University in Berea, OH. Can’t wait!

Then in July, there’s the Somerset Folk Harp Festival which is always a maelstrom of activity (in a good way). This year there is an amazing lineup of instructors, and I am so grateful to be among them. Somerset is offering me the opportunity to do that thing I do by mashing up my technical world with my music world and I’ll be teaching two workshops.  On the Saturday I’ll be presenting Preventing and Avoiding Injuries: Ergonomics for Therapeutic (and other) Settings which is open for any level and will be helpful to all harpers not just therapeutic musicians. It will be hands on and interesting no matter where you play.  On Friday it’s Repertoire for Every Patient! with tips, techniques, and approaches to make a small but workable repertoire be useful no matter who you play for in the healthcare setting. It will be focused on therapeutic music, but the principles are the same no matter where you play. I hope I’ll see you there – please say hi! And if you’re on the fence about coming, I hope you will decide that yes, you need to come – registration is still open!

In August, it’s off to Scotland to see Glasgow, Edinburgh, a brief jaunt to Skye and a turn about the Highlands for a bit. I (really!) will try to remember to take photos, but you already know I’m so bad at that because I’m usually too busy gawping at all the beauty! I have a small but feisty group and I’m really looking forward to seeing the Royal Edinburgh Military Tattoo. I’ve wanted to see this event for years! I know so many of you wanted to come along but weren’t able to for one reason or another – so watch this space and start planning for next year!

And then it will be September! Whew! I hope I do a decent job sharing all the fun and learning and visiting friends (and photos – really, I will try!). I’m excited to see several of you and I’m happy to share some of the experiences with all of you. I’ll share photos here and on my face–tagram.  As always, let me know if I should be looking for you in a particular place, ask questions, and share your thoughts in the comments!

Woohoo Summer!

Do the thing that scares you

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Do the thing that scares you 

What scares you? Ok, let’s scale it back to what scares you about playing. You don’t have to say it out loud (unless you want to), but definitely say it in your head.

DO THAT!

I’m most scared of doing something wrong. Not so much when I’m by myself (ok, yes, but…) more when I’m playing with other people. Because the options of doing something wrong are very uncomfortable –

     I’ll sound really bad (not fun)

     We (as a group) will sound really bad (embarrassing and not fun)

     I will be blamed for sounding bad – not just this time but every time after that (continuingly embarrassing and not fun)

(and the perceived outcome – no one will ever want me to play with them again)

DO THE THING

I had the wonderfully terrifying opportunity to join in on a final tune in a recent show. The bass player and the guitarist both told me that it was easy, just follow along. That there was only one chord. That I just had to hit that chord on the 1 and all would be well.

So, I did the normal thing – I said yes (!)

And then I panicked! (the much more normal thing for me)

It’s never that easy. I’m not good at following – especially a tune I have only heard a couple of times before (and frankly, I wasn’t really listening then)

Then they told me the key – Bb min (yup, that would be five flats – not easy on a lever harp tuned to 3 flats.

I might have hyperventilated a little bit just then.

But I dared to hope.

I looked up Bb min (thank you Maestro Google). And verified that the 1-5-8 chord would be playable (Bb – F – Bb) and that the V chord would be playable (F – C – F). And my hope grew infinitesimally.

But I would have to stay off the IV chord! And I’d definitely have to stay off the iii!

That didn’t completely calm me though – because I’m not good at catching the change (and I don’t practice it enough).

So, I looked up a chord sheet for the tune. The bass player didn’t lie – it really did only have one chord! (ok, there was one place where there was a change to the V, but only one and if I missed it, it would be over quickly).

I felt an eerie calm come over me at that point.

And then an icy chill – because the bass player and the guitar player had had a rehearsal. They knew what they were doing while I was going to have to wing it on stage in a performance.

Do you know what happened? Want to guess?

If you guessed that – no, I backed off and gave it a miss, come on – have a little faith!

If you guessed that – yes, I did it – you win a cookie! I went on stage and played my single chord – up and down the harp – in time and actually on the (right) chord. I was shocked. Then I was delighted. Then I was a little more self-impressed than the feat deserved, but – celebrate the tiniest wins, right?!

So, the next time some terrifying opportunity arises, I’d like to encourage you to step up. Breathe and step into it! If it helps, remember that, while your heart hammers and your palms sweat, you will come out with a new accomplishment under your belt. And from there, you could go anywhere!

Want to share your secret dread (it could be someone else’s if you prefer – you know, asking for a friend)? I’d love to hear it (and feel just a little less alone!). Let me know in the comments!

 

 

Don’t Get Me Out Of Here!

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Don’t Get Me Out Of Here!

We talked about why you might experience anxiety playing for other people and we shared a few reasons that might happen (you can revisit that here). And that’s all well and good – kumbaya and all – but what can we do to get past all that mess and on to the fun part of sharing music with other people? Well…

Let’s start with recognizing that it’s normal to feel a bit discombobulated before performing. That feeling is a response to a perceived threat. And few things feel as threatening as having your fears exposed like you’re the stomach of a biology class frog.  It can be a bit daunting! But it’s important to know that it’s not just you (even though it feels like it!) – everyone gets a bit tangled when they’re going to do something uncomfortable. Welcome to being human.

Of course, it can be difficult to do some of these things.  It is easy to forget to not be scared when your inner wildebeest thinks it’s been scented by a hungry lion! But if you don’t control your fear, it will control you. And besides, we do this because we enjoy it – so we might as well enjoy it!

You can’t really grow out of being human but you can learn to be better at it. So here are some ways to help yourself get out of your own way. *

  • Breathe! (or meditate or pray, as you prefer) This is so important to help you keep a clear head and to not hyperventilate! It also helps lower your blood pressure and heart rate which makes you feel calmer (because scared people don’t have a lower BP and pulse!). (Sometimes I write “BREATHE!” at the top of the set list – just in case I forget).

  • Assess the situation. I like to look over the audience and realize I don’t (typically) know the people.  It’s not like favorite teacher (or a frenemey) was watching. Those people want to be there and be part of the experience. They want to be there! Bask in the beauty of that! And let it assuage your fear a bit.

  • Name the beast. What are you most afraid of? Say it out loud (or write it out or paint it – you get the idea – make it real outside your head). When it’s outside your head, you can skewer the thoughts with questions and observations. Remind yourself that, while your brain is trying to protect you, there is no physical danger, and you are ok – just scaring yourself. If you can, laugh at what’s scaring you.

  • Sing Happy Birthday. If you’re ruminating on these thoughts, sing a song, take up the space in your brain and interrupt the thought train the same way you stop an earworm!
  • Take care of you. Do your best to get some rest and eat well. This is not the time to break your caffeine habit (or start one) or radically change your diet!
  • Acknowledge your preparation. We often start to tell ourselves that if we just had one more week, we’d be set. Give yourself enough time to prepare and use that time to make yourself comfortable that you are in fact ready.
  • Practice. The best tip I ever got about performing was to practice! Get out and perform every chance you get. Don’t just play for the cat and the curtains – but for real (and appreciative) people! As recently as just a few years ago many of us went out to share music with our neighbors. No reason you can’t still do that. They will be just as appreciative without the threat and pall of diseases!
  • Think! I know it’s tempting to focus on thinking that you’re not ready, you’re feeling sick, and you’re afraid. Instead, actually think about what you’re doing. Hear your tunes in your head. Focus on what comes next. Do this not only as you perform but also when you’re practicing at home – get in the habit of thinking before you play.
  • Turn your frown upside down. Practice delivering your internal dialog positively. Remind yourself of how hard you have worked and how well you are doing. No, I don’t mean lie to yourself. Be honest. If you can’t, pretend you’re talking to a friend of yours and tell that person.
  • Perform. Your real goal isn’t to slay it but to do better than you did before. You can only improve compared to yourself.

You don’t have to feel like you have to make a break for it or send out a message to “Get me out of here!”. You can, of course, also try just telling yourself to get over it, but I haven’t found that to be a particularly successful strategy.

Keep in mind that all of these things are not “one and done” you might have to do one, start to play, employ another, play some more, etc. You are also you (you might have noticed) so not all of these may work for you – use some and see what works best. And then incorporate it every time!

 

Have you used any of these strategies? Did they work for you? Do you have other methods of dealing with your nerves? I can always use more ideas, so let me know in the comments!

 

* As I mentioned in the earlier post, I’m talking about situational anxiety which is NOT the same as generalized anxiety. If you suspect you have more than just a twinge of getting in knots over stepping on stage – seek professional help.

Remember & Honor

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Remember & Honor

It’s Memorial Day – a day to remember and honor all those who have lost their lives in combat protecting those things we hold dear. In the middle of enjoying a day off and the unofficial start to summer, take a moment of gratitude.

Get me out of here!

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Get me out of here!

When I asked you what you wanted me to write about, a surprisingly large number of you asked me about dealing with the anxiety of playing in front of other people. While I wish I could say that I don’t know what you’re talking about, all that came to mind was Nietzsche, who pointed out that what doesn’t kill you makes you stronger. And that hard to shake feeling of Get me out of here!

(actually that usually is my thought process – going round and round between “I don’t want to!” and “it won’t kill you to try”)

Why we get nervous or anxious before we play for other people can come from a lot of things – probably more that we could cover herePS. But the clear winner is that we are afraid that we will not acquit ourselves well in the moment. A fancy way to say that we’re afraid we’ll mess up and everyone will laugh. Or worse, they won’t laugh right then, they will tell us that it was great, and then will gather over the cookies and laugh.

Where did that come from?!

Well – here are a few places it can come from:

  • Basic insecurity which can grow from failing previously (and I don’t know about you, but I have had some spectacular fails).
  • Comparing ourselves to others (we’ve talked before about that before here and here).
  • Outsized expectations of ourselves – Are you now shooting for admission to that exclusive conservatory? No? Then lay off.
  • Perfectionism. Really? Perfect is boring. And while you want to do well, your audience wants human experience (otherwise, they’d listen to a recording)

All of these though are just faces of fear – fear that we won’t do well, that we’re not good enough, that everyone will laugh at us for daring to think we’re better than we are.

The best advice I’ve gotten to address this is to maintain perspective. When you get up in front of people to play you might project your fears and insecurities and feel all that anxiety. In a worse case, you’re projecting them so loudly that you cannot hear your audience. While you’re thinking “please let me not screw up beyond redemption” your audience are thinking things like:

  • I wish I could do that (play an instrument).
  • I wish I were that good.
  • I wish I were that brave.
  • I wish I were that competent.
  • I wish I were that accomplished.
  • I wish I were that capable.
  • I wish I were that fearless.
  • I wish I could do that (get up in front of a bunch of people, open a window to my soul, and share what’s inside).

Listen to them – at least more than you’re listening to you.

Next week, a little less philosophy and a little more practicality with some ways to move past the anxiety, so that you can sit on the bench and play for others. Until then, I have to go off and hope you found this helpful and aren’t laughing at me thinking I know anything. Let me know in the comments (even if you are laughing at me).

PS – This is all outside of clinical issues including anxieties and depression which are serious but also a far cry from that sick feeling that I think you were asking about. If you are experiencing significant anxiety and/or depression, please seek competent professional help. Sorry, I’m not that kind of psychologist.

Dogs and Tricks

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Dogs and Tricks 

If you have enjoyed the luxury of getting older (so far), you might have noticed that things have changed. Some of those things are no big deal – if you’re not as tall as you were before, you can adjust your bench and your harp.

But if sometimes it feels like you’re the proverbial old dog and every tune is a new trick, it can get discouraging. What if you feel like you can’t learn tunes like you used to? Or you can’t remember them when you do learn them? Ugh. That would be frustrating.

Well, no one wants to go down without a fight, so what are some things you can do to help improve your capacity to learn and memorize music? Here are a few ideas:

  1. The Ground Rules

    1. Be confident – you can keep learning and memorizing music!
    2. Your brain is not static and will continue to develop and make new connections. This continued growth and development is greatly improved by learning and memorizing.
    3. Do you (don’t worry about how fast you learn, just keep learning).
    4. Failure is essential for learning to happen! Those aren’t mistakes – they’re part of a process of developing connections that are essential to learning.

  2. To keep your brain sharp

    1. Take a walk. Yes, I know I sound like a broken record, but research in a variety of fields points to the utility and importance of taking a walk. It doesn’t have to be anything huge – just take a stroll, in the fresh air, at a pace that you can comfortably maintain for about 20 minutes. You can also break that 20 minutes up into a few walks. This one is hard to wiggle out of – you won’t be sweaty, you don’t need to change, you just need to put on some (appropriate) shoes and go. Walking will help refresh you and clear your mind so you can focus on the task of learning.
    2. Follow grandmotherly advice. You know that a French Fry addiction is not healthy (or M&Ms or Coke, or what ever your vice might be). Eat well and care for yourself – better overall health will improve your cognitive health and capability.
    3. Check your hearing. As we age our hearing declines. But we also have so much noise in the world that loss of hearing is all but assured. Having healthy, supported hearing will make learning tunes easier and will be good for your overall health. When you can’t see, you wear glasses and if you need to have hearing aids, just do it.
    4. Get rest and take care of you. Let me summarize a lot of research – smart people get sleep and sleep makes you smarter. *

  3. To improve your intake and retention of tunes

    1. Acknowledge that age is changing how you take in, process, and put out information. It’s not good or bad, it just is. And this is true whether you are a relatively newly minted adult or a very seasoned human (in your red hat age) – we are always aging and changing so rather than expecting yourself to be the same as you were when you were younger, know where you are now. (and if you’re reading this and younger – make a note, might as well get used to it and adapt from the start)
    2. Embrace where you are now – now that you’re older, notice how you see the world – and process the information – differently. With age comes more neural connections which support being more able to see the whole (even if you can’t read the fine print!). If you know this about your processing, you’ll realize that you get the gist quickly and can fill in the details later. When you were younger you were able to hang on to details (e.g., a longer string of notes), so now, focus on larger segments (maybe phrases) and be assured you’ll be able to fill in the gaps later.
    3. Speed is only one measure of learning. If you don’t learn as quickly, do you notice that you learn more thoroughly now? (psst you probably do, whether you’ve noticed or not)
    4. Focus on what you’re learning. Don’t try to task switch or multitask. Do one thing and pay attention.
    5. Simply learning will make you better at learning (practice!).

  4. Strategies for learning

    1. Build a map. I help my students learn a tune in all their sense modalities. We listen, we play, we shut our eyes, we squeeze. Ok, we don’t smell or taste but if I could figure out how, we’d do that too. Having all these different sense “paths” for the tune means that we have built “maps” in each of these modes, and this strengthens memory for all those modes.
    2. Take notes to help you remember. Record if possible so you can review.
    3. Build your brain muscle. Do other activities that benefit your memory – do puzzles and word teasers, memorize your grocery list. Do these “brain games” consistently and regularly, so that you stay sharp (or become more so).
    4. Only compare you to you, today. You’re not the you of 20 years ago. And you’re not the hotshot sitting next to you either. Just focus on learning and don’t worry about what everyone else is doing.
    5. Keep learning – the more you do, the better you’ll be at it.

  5. Strategies for recalling

    1. Start where you find yourself. If you can’t remember how a tune starts, play what you do remember. Listen to the tune in your head and play along. See if by playing what you do remember you can pull yourself along to the next bit – until you’ve played the whole tune. I do this a lot – I just play the phrase I do recall and keep playing it until the next phrase comes to mind (etc.) until I have the tune again. I also check any sources I have if I really get stuck (sheet music, recording, phoning a friend).
    2. You already know a lot – which gives you a good platform for storing new information. Use it and leverage any similar phrases to help you build better “maps” of the tunes.
    3. Keep practicing from memory – the more you do, the better you’ll be at it.
    4. Focus on what you’re recalling. Work on remembering one thing and pay attention.

Remember too, that you had to learn to learn, and this is simply one more step. This is a start – give some of these a try and see how you go and let me know in the comments how you get on!

 

*Yeah, no researcher would write that in a scientific journal, but like I said, I’m paraphrasing!