Entries in sports psychology (4)

Monday
Mar102014

The Mental Half Episode 3 is Up

In this episode, I talk about the pressures of test-taking with Annie Padnuk, who tutors high school students and helps them boost their SAT and ACT scores. We discuss how stress can often be the result of being unprepared, and how structure and preparation can help prevent students from making big mistakes. 

The episode can be found below, or by following this link to the podcast home page. Please subscribe if you'd like to hear more episodes in the future. You can do so by clicking the rss button on the podcast's page or by pasting this:

http://www.thementalhalf.libsyn.com/rss

into the "Subscribe to Podcast" section in iTunes or your favorite podcatcher.

Mason

 

The Mental Half Episode 2 Annie

Sunday
Jun192011

Have fun and learn something

On the auspicious occasion of my 12th college reunion, I once again returned to campus to play with my college band. We hadn't played in two years, which was also the last time I played on a stage, so it was 24 hours of intense preparation before the show went off. Thankfully, we tempered our ambitions a little bit and didn't add too many songs (A notable exception was the quick-and-dirty cover of a recent Cee-Lo Green hit that absolutely demanded a spot on the setlist.). Overall, the show went really well for the band, and for me personally. How do I know? Because I set two goals for myself: have fun and learn something.

There was no doubt that I was going to "have fun" overall (Playing shows beats sitting in traffic.), but in the context of performance, this goal was more about maintaining a positive attitude and steadying the ship if I/we started to make mistakes. I know I did OK with this because I don't really remember any specific gaffes (Well, there's one that I saw on video, but it was small, and we all recovered quickly.), so I know they didn't dominate my experience of the show. I also realized that my energy was flagging a little in the second half of the set, so I rstarted concentrating on interacting with people more. This really helped my attitude, as I had started to drag a little. Interesting that a little shift in focus really picked up my spirits.

What did I learn?

1. It's better to turn the volume up and play lightly. This saved the skin on my fingers, which almost gave way due to playing so much more than I'm used to. It also allowed my hands to relax, which helped my playing.

2. Focusing on putting out energy to connect to people was a good way to enjoy the show and not focus on playing perfectly. In the past, I'd have a great time, but if I got tired, I faded without knowing how to stop it. I was just a little more aware of my energy for this show, and was able to direct it positively.

3. Everything's easier when you have a great group of people to play with (but I knew that already).

Tuesday
May102011

"Unteachable"

This will be quick. I met a new tennis student today. She was a nice woman who told me in an email that she wanted to play better tennis with her children and husband. When I met her in person, she quickly told me that her tennis was "pathetic" and that she was "unteachable."

Ouch. I quickly told her that there was no such thing. Unfortunately, our lesson was rained out so I couldn't prove it to her yet. Of course, just be showing up to a lesson, she's showing that she doesn't believe that she's unteachable, but I hope she was just voicing a little frustration and that she's open to learning. 

The truth, as always, is that you aren't what you are, you are what you do. If she works hard, she'll be fine.

Saturday
Apr022011

Solos

Playing music with people I like is one of the great joys of my life, though, like a lot of musicians, the happiness has sometimes been tempered by anxiety. The biggest problem I had was managing the expectation of playing solos. I'm primarily a guitarist (also having played bass and drums with bands), and, while popular music has evolved in recent years, I grew up with the model of bands being centered around singers and guitar solos, with everything else just sort of being an accessory (Guns n' Roses was my favorite band in high school, but I also loved Led Zeppelin, Pearl Jam, the Allman Brothers and, later, Phish, all of which had a lot of songs centered around great guitar soloists.). Unfortunately for me, my skills as a musician were more in the realm of writing and arranging, and I was never been able to just roll out of bed and solo like a pro.

However, that doesn't mean that I did not enjoy soloing. I worked hard at improving my technique, and I always enjoyed hanging out at home with friends and trading solos over whatever songs we both knew. In this kind of setting, it was pretty easy to lose myself in a moment and really enjoy what I was playing, which I take as a sign that it wasn't too bad. However, on stage or playing with musicians I had a high regard for, my ego sometimes used to really get in the way. I'd look forward to the chance to solo in order to impress the people in the room, or to at least prove that I was good enough. Rather than listening to the other musicians, listening to myself, or focusing on creating, I'd get really worked up about sounding good. More often than not, this led to me not playing anything particularly good, and I would react especially badly if I hit a sour note or lost my place for a second. 

Occasionally, things would work out well enough for me to feel encouraged. I knew from playing in low-pressure situations that I had good music in me, and I sometimes felt like I could transfer that to the stage. One time, the band was playing a particularly fun and energetic song with a slow break in the middle. My solo was scheduled for directly after the slow part. As I was catching my breath, I realized that I had broken a string and would be completely discombobulated if I had to play at that moment. Thankfully, I finished fixing the string just seconds before my solo time, and for reasons I didn't understand at the time, playing one of the best solos I think I have ever played. My mind was filled with musical ideas, combinations of notes I'd never played, but seemed obvious, and a freedom to let the music happen. It wasn't until I got into my sport psychology studies that I fully understood what had been going on.

My insecurity as a player had directed me to only focus on the outcome of my solos; I wanted to impress my bandmates, myself, and the audience. It didn't occur to me that playing isn't about the outcome, it's about the process. My mind jumped so far ahead that I was never really present for what the solo itself. However, when I was frantically attaching and tuning a new string just before I had to play, my mind didn't have time to sit with the anxiety of playing poorly, or the desire to play well. It was such a relief to be able to play, that I was playing with joy rather than fear.1 This often happens with athletes as well: they enter a contest focused on winning, rather than what they need to do to make that happen. For me as a guitarist, my playing is much better when I disregard outcome, think about being open to the music, make sure I'm energetic but relaxed, and play with a sense of joy. Having played with anxiety for much of my life, I still need practice at this, but I look at the first phrase of this post, "Playing music with people I like is one of the great joys of my life," and as I better keep my focus on the process rather than the outcome, I find that that statement is more and more true.

 

1. There’s a section in the book “Effortless Mastery” where Kenny Werner talks about a sax player who is not playing with full breath, not blowing out and making the full sound necessary for good tone. So Werner advises him to hold his breath for as long as he can, and when he can’t hold it any longer, to release his breath into the sax. When exhaling became the most important thing in the world (It tends to do this after a minute or two!), the player was no longer worried about his tone and sounded great.