Up close and personal with Anthony Parce (viola): a conversation about audition nerves and beta blockers

When did you first hear about beta blockers and what they do?

I probably first heard about them in high school. I was definitely aware of other people using them both at Rice and NEC but I never personally had access to them and didn’t really mind. I did, however, have major struggles with nerves and energy regulation while I was in school, at some points becoming debilitating. I remember working diligently on a Brahms Sonata for many weeks while at Domaine Forget; I was proud of the progress I had made and what seemed like breakthroughs in my technique. A chance to show the progress I was so proud of came as I got to play a masterclass for James Dunham (my teacher at Rice, who hadn’t heard me all summer). When it was my turn I had built that moment up so much in my head, I got thoroughly excited and ended up having so much energy that the auto-vibrato shakes kicked in, my bow control was a joke, and I probably sounded like I hadn’t practiced all summer. I felt utterly defeated, if practicing to the peak of my abilities wasn’t enough to give me the confidence to be able to execute as I wanted to, then I clearly had no business being a musician.

But what was I practicing? Sure, I was working on technique, accuracy, and musicality, but at what point in my process did I practice performance, energy regulation, and all of the mental aspects of being able to control myself? I was lucky enough to attend a bass masterclass taught by Francois Rabbath right after my own disappointing performance earlier that day. At one point in the class a student was noticeably nervous and made some bloopers. When Rabbath later asked him about that particular section of the piece, the student said something to the effect of “I know when I work on this section that it’s the hardest for me, it makes me uncomfortable, and I get nervous whenever I play it for anyone.” Rabbath’s stunning answer was “Well that sucks…. You have told yourself repeatedly that this section will go poorly, that you will get nervous. Why should it go any differently when you have essentially practiced getting nervous? That sucks.”

Talking with some of the other bass faculty after this class, they explained to me that what Rabbath was really referring to is what psychologists call Neurolinguistic Programming (NLP). It is essentially the idea that you are in control of your mental responses to any situation and there are active exercises and practices you can adopt to “program” your brain as it will serve you best. This began a many year journey of me working through these issues in a targeted, intentional way.

When did you first use them? What brought you to you them? 

By the time I was at the New World Symphony I had made great strides through NLP in controlling my energy in performance. I had an experience where I was principal for a big piece (Esa Pekka Salonen was conducting!) and I had a very exposed solo that immediately followed a very fast and physically taxing passage. I did all the NLP exercises I knew to make sure I was controlled, collected, and confident in rehearsals, and I genuinely felt good in those respects (I wasn’t nervous), however this was a different kind of challenge. The physical exertion of the previous passage was enough to get my heart rate racing as any heavy activity should, deep breathing and confidence couldn’t slow my pulse quickly enough. I complained to my stand partner and she recommended that I take one of her beta blockers, explaining that after all the function of a beta blocker was simply to cause your heart to beat more slowly and with less force. This targeted the precise issue I was having, and I used them in the performance successfully. 

There's a variety ways to use beta blockers. How do you use them currently? 

Knowing that beta blockers only targeted a very small response of the overall energy regulation picture, I treat them as icing on the cake. The truth is through my NLP work I am able to control the majority of energy regulation issues I would normally experience in an average chamber music or orchestral performance, so I don’t find beta blockers necessary for these. For the occasional orchestral solo, very difficult chamber piece, or audition that takes the utmost of my physical energy, a small dosage of a beta blocker helps me complete the picture. I would generally use one 5 mg pill 45 mins before the performance and I don’t take a second dose in a day (for example if there are multiple rounds of an audition in a day). In the last two years the only occasions I used beta blockers were major auditions.

You just won a position with Nashville!! That's incredible. What did you do this time?! How did you feel? How did you use the Beta Blocker in a way that help you?

Nashville was interesting for me because I chose not to use a beta blocker for the prelims. I decided to do this because I was feeling very confident in my preparation, I just didn’t think I needed them anymore. During the prelim round I didn’t get nervous per se, my NLP training was working for me, however, I was having to spend a lot of time and mental bandwidth centering, controlling breathing, and consciously relaxing my abdomen and deltoids (responses I have programmed to keep my energy in check). It wasn’t the best round I’ve played and was expecting to be cut. Fortunately I advanced (perhaps confirming a totally unrelated theory of mine that the majority of the time we feel good or bad about a round of an audition it’s actually just marginally better or worse than what we are normally capable of, the quality of your preparation shows through even when you think you’ve bombed). I decided to use the betas again for semis for two reasons:
1. I didn’t want to be using so much mental bandwidth on controlling my energy (would rather refocus that on the musicality of the excerpts).
 2. I broke one of my biggest rules for auditions: nothing new on race day. This is the idea that you shouldn’t try to do anything drastically different on the day of (or day preceding) an important performance, even if you think it will help you. For example, I tend to have a beer most nights before I go to bed. If I chose not to do that the night before an audition I might be changing the chemicals in my system, which might cause me to be to be more alert going to bed, I might have trouble sleeping…etc. This was my 31st professional audition and I had used betas for the last 26 of them, they were part of my routine and a variable I had accounted for. Fortunately, the semis and finals went well for me and I was lucky enough to win the gig.

While it might sound like beta blockers made the difference, I would contend that difference was nothing compared to having a  rare full month before the audition to practice without regular work obligations, ample time to record and analyze my excerpts, a decade of arduous intentional practice focused on auditions, and being back on the instrument that I had advanced on in the last 11 auditions I took. That being said, they helped and I couldn’t be more grateful to have finally accomplished what has been one of my biggest life goals!

What tools do you use?

There are a lot of resources in the realm of NLP that the modern musician has at their disposal, ranging for the self-help section to sports psychology to actual hypnosis. It’s important to find the methods that feel genuine to you, some things that work for me might feel hokey to others. There are many simple ticks that can have far reaching effects, such as cutting out ever saying you will get or do get nervous and replacing those statements with something like “this will be hard but I am going to prepare in such a way that I will be able to rely on my preparation and expect confidence." My first exposure was through Michael Colgrass’ book My lessons with Kumi, a collection of exercises written with a fictional narrative. This opened up my eyes to guided meditation and visualization, two essential skills of NLP. From here I moved on to Don Greene’s Performance Success, and Inner Game of Music. I have gotten so much out of Noa Kageyama’s Bulletproof Musician online course and working with him in Miami. I find his blog to be a great wealth of knowledge, especially as it relates to getting more out of your practice. The single tool that I’ve gotten the most benefit from is an app called “Musician’s Hypnosis” which I swear by for audition preparation. While I wouldn’t really call it hypnosis as much as guided visualization, this app allows me to practice every aspect of the audition experience, from unpacking in the warm up room to imagining the reaction of the committee members on the other side of the panel, all the while injecting these images with confidence and the expectation of success. I even visualize myself practicing the way I would ideally like to, I would highly recommend it! 

As we wrap up this conversation, I remember you mentioned you had an interesting story about bananas…

I routinely am filled with joy and confidence walking out onto an audition stage because I have programmed my subconscious to elicit this reaction. This subconscious work is always at play in our lives, and it can backfire quite spectacularly when it goes unchecked. An example would be that when I was in college I knew bananas had naturally occurring beta blockers so whenever I had to perform for something important I would go to the smoothie king and get an all-banana smoothie. This obviously wasn’t a cure-all for nerves (and the sugar probably just got me way over energized) so I would still have energy problems and since the common denominator was the banana smoothie I classically-conditioned myself to associate bananas with being nervous. It took me years to enjoy bananas again without feeling a bit flighty!

Wellness profile with viola professor Edward Gazouleas

Q: How would you describe your lifestyle (student/traveling performer/9-5 job/etc.)?
A: After 24 years in the Boston Symphony I now teach full time in Indiana University, and my daily schedule revolves around teaching mostly lessons.  I tend to practice early in the morning or in the evening.  

Q: What inspires you to do what you do?
A: I’m constantly inspired by my students and the gratification of seeing them improve on the viola and grow as musicians.  I look for at least one moment of “spark” or epiphany in each lesson.  When I see it, even if it’s a very small spark, I’m inspired to go on. 

I’m also continually inspired by my own great teachers and many of the outstanding musicians I’ve encountered in my career of almost four decades.

Q: Describe a daily routine that makes you feel great.
A: In terms of daily routine, I feel much better about my playing if I have some time to do some technical work.  I’ve become somewhat addicted to some of the exercises in the Dounis Daily Dozen.  

Q: Do you exercise regularly? If yes, what do you do and how often?
A: My favorite exercise is Pilates.  I also periodically do a stretching and free weight routine at home.  

Q: What do you eat before concerts/performances?
A: These days before concerts I mainly try to stay hydrated.

Q: What do you do if you feel like you're in a practice rut?
A: Practice rut?  Change something, anything.  
Experiment.  What’s the definition of insanity?  Doing the same thing and expecting a different result.  
Example:  practice a passage with a different fingering even if you know you won’t use it. It makes you hear it differently.  

Q: What piece of advice you wish you were told when you were a student? 
A: Play a smaller viola.

Q: How do your splurge yourself?
A: a better than average bottle of wine.  

Meet violist and movement educator, Kayleigh Miller!

Q: How would you describe your lifestyle (student/traveling performer/9-5 job/etc.)?
A: I am primarily an orchestral player that teaches movement. I have played in the San Antonio Symphony for the last four and a half years, and in the Chautauqua Symphony Orchestra in the summers for three years. In between orchestra life, I teach group classes in yoga and pilates, as well as teach private clients, work with teacher trainings, and maintain my blog on wellness, the Musicians' Health Collective.

Q: What keeps you motivated?
A: I am primarily motivated by embodiment, whether that's through a daily physical movement practice, the experience of creating sound and feeling it resonate, and feeling the connection with others.

Q: What gets you out of bed in the morning?  
A: I have fostered dogs a lot in the last three years, and the puppies tend to wake me up early in the morning.  I recently adopted a 6 month year old puppy, and he usually is ready to go by 7 AM.  I've gone through phases of drinking coffee (and not drinking it), but I'm currently in a coffee drinking phase, especially in the morning!

Q: What inspires you to do what you do?
A: The underlying motivation for music and movement is to help others, whether it's to help them take care of themselves, support their students, feel solace and connection through sound, or move in a supportive way.  We live in a chronically disembodied and disconnected society, and I hope to help ameliorate that in some way.

Q: Describe a daily routine that makes you feel great.
A: Wake up around 7:30 feeling well rested, oil pull with coconut oil while I boil water for coffee, then have a glass of water with apple cider vinegar in it.  Drink some coffee, maybe with butter blended in or CBD oil, and then take the dog for a short walk before I begin whatever I need to do.

Q: What is one habit would you like to change?
A: I've gotten out of the habit of reading fiction for enjoyment, and I'd like to be better about that. To down regulate before bed, I sometimes fall into the "Netflix Pit of Doom," and get sucked into a tv show, but it's nice to read or meditate before bed sometimes, (although there are lots of fantastic tv shows these days).

Q: What is your practicing routine, if you have one?
A: It depends on what I'm working towards. Right now, I just have a few months of orchestra repertoire and no big solo obligations or auditions on the horizon, which means that my goal is technical maintenance, learning new orchestral repertoire,  and recovery. I like to do some finger pattern exercises for the left hand, as well as some open strings for the resonance and the bow arm. Sometimes I work through traditional technical exercises addressing shifting and hand frame, other days I jump straight to scales and repertoire depending on what my schedule allows.  For orchestral repertoire, if I haven't played the pieces recently, I find it most useful to listen to the work with the part or score in hand, and then figure out what to work on. Sometimes that also entails conducting and singing parts. Unless I'm familiar with the repertoire, it's not that helpful to just practice a symphony or ensemble piece without knowing the context, especially as a violist.

Q: What do you do if you feel like you're in a practice rut?
A: Take a day off. So much can be accomplished by taking a day off and gaining some perspective. I also find that playing for other people is very useful, especially once you're out of school and out of a traditional weekly lesson schedule.

Q: Describe a habit or a ritual you do every day and you "swear by".
A: Oil pulling, which is essentially swishing a small amount of oil in your mouth for a few minutes every day, and drinking water with apple cider vinegar to help with digestion and regulating internal pH.

Q: How do you "get back on the horse" if you get out of your routine?
A: In terms of nutrition, I usually find that I need to eat a ton of plants to feel normal again, whether that's through salads or smoothies. Practices that reset the nervous system like yoga, meditation, and feldenkrais can be great.  I also find that hiking in nature does wonders.

Q: Do you exercise regularly? If yes, what do you do and how often?
A: Yes- I try to walk around 2,000 miles a year as a baseline of human activity. Instead of thinking of workouts or exercise as a one hour time frame to get a ton of intense movement in, I prefer to have more movement throughout the day.  Biomechanist Katy Bowman writes about this a lot- that the concept of "working out" or "exercise" is a modern adaptation to a lack of daily movement. Our society is more and more sedentary- less walking, carrying, manual labor, and this affects the body on a cellular and structural level.  I also practice pilates a few days a week and yoga as well- I tend to do a mix of different things that might look like exercise, and some things that wouldn't look like exercise at all.  

Q: What do you eat before concerts/performances?
A: I usually eat whatever I want, and that tends to be salads or higher protein things.

Q: How to you manage your anxiety or daily stress?
A: I find meditation very helpful- although I have practiced in Buddhist lineages, there are many different styles and approaches of meditation that can be great for people. The app Headspace is a nice way to get started on one's own.  

Q: Do you have a routine before an audition?
A: I try to meditate prior to playing and do some shoulder and spine mobility work, even if I only have 5-10 minutes.

Q: What was the most important mantra you learned in the last couple of years?
A: I am enough, as I am, in this moment.

Q: What's the best piece of advice you've been given?
A: To do my best to make the world a better place through love.

Q: Before going to bed, what do you do to wind down?
A: Sometimes with meditation, a gentle movement practice, or some tv in bed...

Q: How do you deal with rejection? Can you share an example?
A: The outcome of an audition or competition doesn't define you as a player or person. There are a multitude of factors that affect the outcome of any given situation, and you can only control your preparation. You never know how a committee is feeling, if the committee gets along with each other or with the music director, if there's someone that's been doing the job that people want to have, etc. I've taken many auditions where members of the committee had connections to audition candidates, and sometimes that affects the outcome. I took an audition a few years ago where no one advanced in three days of preliminary rounds, and the orchestra hired the spouse of someone in the ensemble. I'm sure that individual was a great player, but it's difficult for me to believe that out of 100 people, no one was "good enough" to advance. Sometimes audition candidates play for the audition panel prior to the audition, and even if the committee intends to be objective, it's almost impossible to be impartial. The only things you can control are how you prepare the repertoire and how you prepare to physically audition, which is an odd set of skills to develop. It's downright bizarre to walk on a foreign stage, not speak to anyone, play repertoire excerpts out of context, and have 5-6 minutes to do so with no time to settle in.    

Q: How do you find a balance between your music life and career and your personal life?
A: I think that can be almost impossible to maintain at times, and I haven't always succeeded. Musicians tend to see their job as both their vocation and passion, and it can consume them. Having a non musical vocation and passion has made a huge difference because I find great job in teaching movement and exploring movement in my own body.

Q: What helps you focus?
A: I find that a constructive rest of about 10 minutes in the afternoon can do wonders for rest and recovery in the midst of a busy day, especially if I'm tired.

Q: How do your splurge yourself?
A: Being a student is great, whether that's taking other people's classes in yoga or pilates, or just taking private sessions. Bodywork and massage is also a must. I also love bourbon and whiskey, which is especially delicious in the winter times.

Learn more about Kayleigh's classes and work at: http://www.kayleigh-miller.com/

Wellness profile with oboist, Paul Lueders!

Q: How would you describe your lifestyle (student/traveling performer/9-5 job/etc.)?
A: I am a full time orchestral musician. I play Principal Oboe in the San Antonio Symphony.

Q: What keeps you motivated?
A: Two things. The short term goal is to maintain the quality of my product as a musician. My long term drive for improvement is to win a job in a major orchestra.

Q: What inspires you to do what you do?
A: I am inspired by great colleagues and other musicians. I try to come hear the Boston Symphony Orchestra play as much as possible. The quality of music making is outstanding.

Q: Do you exercise regularly? If yes, what do you do and how often?
A: I exercise 5-6 days a week: a mixture of weight lifting and cardio. Usually I try to keep my workouts under an hour but never more than 90 minutes.

Q: How to you manage your anxiety or daily stress?
A: When my plate gets full and I become overwhelmed it's very tempting to cut out the things in my life that keep me healthy (cooking fresh meals, exercising, sleeping 8-9 hours). I've found over time that by instead prioritizing these activities I am more efficient in my work, less likely to get sick, and happier overall.

Q: How do you deal with rejection? Can you share an example?
A: Each rejection is an opportunity for improvement. I've taken four auditions this year and didn't advance out of the preliminary round in any of them. That said, I don't think I've seen a quicker improvement in my skills in auditioning at any other point in my life. After each audition I make sure to follow up with my teachers and get as many comments as I can from the audition panel. Rejection is difficult, but with thick skin and enough drive it can be a major catalyst for improvement. Thus, a "failed" audition is never a waste of time.

Q: What helps you focus?
A: A deadline. A big performance. An audition. A lesson. Whatever I can do to have a concrete date to prepare for. I'd like to think I can self-motivate but nothing lights a fire like a looming deadline.

Q: How do your splurge yourself?
A: Don't listen to people who say you should never take days off of practicing. On rare occasions I'll go on a trip and leave my oboe at home. It's nice to remember who I am outside of being a musician, and it's also nice to feel a desire to get back to it after a few days.

Wellness profile with Tuba player, Nimrod Ron!

Q: How would you describe your lifestyle (student/traveling performer/9-5 job/etc.)?
A: I am an orchestral player (for the last six years), playing with the Iceland Symphony Orchestra based in Reykjavik, Iceland.
Also, since 2016 I also play with the West Eastern Divan Orchestra, a project that brings musicians from the Middle East to experiment with coexistence and play together under the baton of Maestro Barenboim.

Q: What keeps you motivated?
A: Crossing boundaries and creating something new.
In the beginning of my musical studies I was very motivated to prove to myself that I can play very loud, or very fast, and each day pushing the metronome up one click proved very motivating.
Today, I am more focused on pushing the tuba repertoire forward. I’ve been talking to many composers on writing new music for the tuba, with different sets of accompanying ensembles. The tuba is a relative young instrument and introducing it to young composers and seeing their reactions is priceless.

I have recently recorded an album which I am very proud of for two tubas solo and brass ensemble with my dear friends Sergio Carolino and Hugo Assunção as musical director.
I am now working on commissioning composers and recording music for tuba and string ensemble, about half of the album is already recorded and the rest should follow shortly!

Q: Describe a daily routine that makes you feel great.
A: As a child I was super ADHD, and was very unorganized. Through growing up I discover that when I make a schedule for myself, I tend to follow it and everything gets done!
6:30 Wake up and eat a fruit
7:30 – 9:15 Practice fundamentals
9:30 – 12:30 Orchestra rehearsal
13:00 Lunch
14:00 Exercise
16:00 Short nap
18-19:30 Practicing music for upcoming projects
19:30-20:00 relaxed walk in the neighborhood
20:00 TV/Book
22:30 Bed time
This is how most days look for me, of course there are some changes whether I have to teach during the day or whether I have some other interesting projects but I try to keep a regular schedule.

Q: What is one habit would you like to change?
A: I managed to reduce my TV time drastically in the last couple of months. Now, the next item on the agenda is to reduce the time I spend using my phone.

Q: What is your practicing routine, if you have one?
A: I try to keep the most basic fundamental routine, but stretching it to the max. For example:
Every day I will begin my practice session with thinking about what I want to achieve today and planning the session in my head.

I will then start with a couple of minutes of breathing and buzzing exercise while I move around the room, to really wake up the body.
Then I play all the scales, each day alternating between slow/fast tempi, different types of articulation/legato and number of octaves, each day pushing the limits by playing longer, faster, lower, higher and with a more comfortable feeling.

I try to take a 5 minute break every 25 minutes and this helps me stay focused and mentally prepare for the next part of my routine. I then read some music that is not written for the tuba and try to imitate the music making of some great artists.

Q: Describe a habit or a ritual you do every day and you "swear by".
A: I try to read as much as I can and make notes to learn from other people experiences. At the moment I am reading “Arnold Jacobs: Song and Wind” and it really feels like I arrived home and I am really inspired by every word.

Q: Do you exercise regularly? If yes, what do you do and how often?
A: I do! I try to be active everyday, although living in Iceland this can prove a bit difficult at times. I swim 3-4 times a week and if there is especially nice weather I go hiking, which normally happens once a week. Besides that, I just try to walk outside for 30 minutes every evening before I go to bed.

Q: What's the best piece of advice you've been given?
A: BE CURIOUS!
I try to learn something from everyone I meet. Whether it is regarding their practice routine, exercise, nutrition, if we are curious, we can always learn more.

Q: Before going to bed, what do you do to wind down?
A: I take a nice walk outside where there is a nice path that goes through a lava field. I am very fortunate to have this beautiful area just outside my apartment.

Q: How do you deal with rejection? Can you share an example?
A: For me, there is nothing better than rejection as a catalyst for motivation.
I have taken an audition some years ago where I wasn’t offered the job. It brought up a lot of self doubt which was a great tool to reflect on my musical choices, ideas, and path.
Since then, I have again become much more curious about the music that I play, how I investigate different styles and study score, it has proven extremely valuable to my practice sessions.

Q: What helps you focus?
A: I am a big fan of schedules and goal making.
Set a goal, make a plan, and make it happen.

Q: How do your splurge yourself?
A: A nice long hike!

Wellness profile with conductor Joshua Weilerstein

Meet Joshua Weilerstein: a full-time conductor who balances performances, traveling, and a new podcast called Sticky Notes. I was especially intrigued to hear how he does it ALL while not compromising the performance level and his attitude. 

How would you describe your lifestyle?
I’m a traveling orchestral conductor.  I’m away from home approximately 26 weeks a year, traveling all over the world, both guest conducting, and working with the orchestra that I am Artistic Director of in Switzerland.  When I’m at home, I study scores for upcoming concerts and write and record my own podcast about classical music.

Describe a daily routine that makes you feel great.
I make a list every morning of the things I would like to accomplish during the day.  It’s incredibly satisfying to cross things off!  

What is one habit you would like to change?
I would like to not have the inevitable low period in the middle of the afternoon where I feel very unmotivated to keep working.

Do you exercise regularly?
Yes!  I have found an amazing program on Youtube called HASFIT.  I workout 5 times a week with it and it has truly changed my life since I started doing it almost two years ago.

What do you eat before performances?
I eat a pretty large meal, since conducting is such a physically draining form of activity.  I also eat a protein bar of some kind during intermission to make sure I have energy for the end of the concert.

How to you manage your anxiety or daily stress?
I try to meditate as much as possible and also unwind by taking walks and getting away from the news and from my work.

How do you deal with rejection? Can you share an example?
It’s tough - I try to let it motivate me as best I can.  Its a nice feeling to prove to yourself that someone made a mistake to reject you.

Wellness profile with Erika Boysen!

Q. How would you describe your lifestyle (student/traveling performer/9-5 job/etc.)?
A. Formally, I am Dr. Erika Boysen, Flute Professor at UNCG.  Informally, I am an artist who enjoys collaboration and cultivating human connection.  Originally from the Midwest, I grew up enjoying performance in all of its creative capacities; acting, singing, dancing and playing an instrument.  This background manifested in a vocation that involves performing in solo, chamber and orchestral capacities, teaching and pursuing creative projects and conducting research related to the aforementioned.

Q. What keeps you motivated?
A. I am most invigorated in the pursuit of challenging the “norms” of classical music and the classical musician’s training.  My love for the classical music artform and the merit of such an education is undeniable but I am frustrated by the institution’s resistance to evolution and change.  I love working with composers; commissioning new works that reflect the times in which we live. I find great meaning in working with artists and non-artists from other disciplines.  The “meeting in the middle” that occurs when individuals from differing backgrounds abandon their discipline-specific jargon is a practice that benefits all. I value engaging my students in conversations regarding new and creative projects that effectively equip them for the professional and cultural demands of our century.  

Q. What gets you out of bed in the morning?
A. The promise of coffee paired with a smoothie. (My perfected recipe: frozen bananas, spinach, grapefruit, frozen cherries, coconut water and my home brew kombucha!)

Q. What inspires you to do what you do?
A. My students are a primary inspiration in my life.  Their growth, hard work, commitment and pursuit of lofty goals inspire me.   I am amazed by their resilience when faced with personal or professional challenges and their curiosity and insatiable desire to learn. My students, past and present, have collectively brightened my life.

Q. Describe a daily routine that makes you feel great.
A. Not so long ago, the first and last task of my day was consuming newsfeeds on facebook and instagram.  I was very aware that this was unhealthy and negatively affected my sleep and approach to each day. I finally decided to remove all screens at least 45 minutes prior to bed and at least 45 minutes after waking.  I realized what was encouraging the habitual desire to check social media upon waking was my use of a phone as a timepiece. I bought a clock that uses light to simulate the sun setting at night and rising in the morning.   This way, when I go to bed, I set a light timer for 45 minutes allowing my body to naturally sense the time pass. In the morning, the clock gradually wakes me up with varying levels of intensity of light. I feel refreshed and ready for the day.

Q. What is your practicing routine?
A. There is no substitute for time in the practice room however, what is equally important to my practicing routine are the mental and physical aspects of preparation for my time with the flute. Meditation, physical activity, journaling, setting goals and objectives- these are the aspects of my practice routine that ensure productivity.

Q. Describe a habit or a ritual you do every day and you "swear by".
A. I start my day reading something that isn’t associated with email, facebook or instagram while enjoying my coffee and smoothie. I love a good memoir. By starting my day reading about another’s life story, my perspective is broadened and I am reminded of my privilege and good fortune.

Q. How do you "get back on the horse" if you get out of your routine?
A. I am a morning person.  The 6:30-7:30 AM hour holds so much promise for me.  If I have migrated from healthy habits (which happens at least once a month!), I use this “promise” hour to begin again. Each day presents a fresh start again and again… and again.

Q. Do you exercise regularly? If yes, what do you do and how often?
A. Yes.  This is a non-negotiable daily routine for me.  Exercise isn’t about burning calories. It is a practice of mindfulness and cultivating the connection between my brain and body.   If I miss a day of moving my body, I am lethargic. What I realized about daily exercise is that it is about frequency, not duration.  I hear responses to encouraged daily exercise that go somewhat like, “I don’t have time to exercise.” Wake up 15 minutes earlier than you intended or cut out 15 minutes of social media and take a walk, pull out your yoga mat, put your helmet on and take a bike ride.   Those 15 minutes will make your practicing more efficient, stave off practicing related injuries and relieve day-to-day stressors.

Q. What do you eat before concerts/performances?
A. I try not to eat a big meal prior to performing. Since I play a wind instrument, the food and drink that I consume prior to a performance can negatively or positively affect my saliva and phlegm production, contributing to factors in tone and articulation.  Protein bars and bananas are a good standard for me with the addition of lots of water.

Q. Do you have a routine before a recital?
A. In my ideal performance day (because let’s be real, not every performance day allows for such activities)  I invest in my warm-up time and mental practice. With the flute still in the case, I will “play” through the entire recital.   After my mental practice, I take a long walk or run, nothing too exhausting. I eat a protein-packed late lunch and then take a 60 minute nap in the afternoon.  Prior to the concert, I’ll do another mini warm-up and sit in meditation for at least 20 minutes.

Q. What was the most important mantra/lesson/idea you learned in the last couple of years?
A. I recently happened upon this terrific sentiment regarding "important principles of music study" from the inimitable , Claire Chase:
a. To perform is to teach, to teach is to perform;
b. To learn is to be creatively engaged;
c. Nurturing new audiences is a shared responsibility of all those claiming the profession of music;
d. Artistry, engagement, and entrepreneurship are inseparable;
e. The Twentieth Century was the century of specialization; the Twenty-First Century is the century of integration and collaboration

Q. How do you find a balance between your music life and career and your personal life? (How do you keep and maintain balanced life?)
A. I have come to the conclusion that striking a balance between professional and personal life is a goal that isn’t always attainable.  This is evident in the natural flow of life. It ebbs and it flows. The tide rolls in and it rolls out. There is no controlling these universal truths.  The goal is to find perspective in the droughts as well as in the floods; to enjoy what the season presents.

Q. What helps you focus?
A. Daily meditation practice.

Q. How do your splurge yourself?
A. A massage! Manicure/Pedicure! Movie! Pizza and

Wellness Wednesday with Akenya Seymour

This Wednesday, I would like you to meet Akenya Seymour: a multi-genre singer, pianist, composer, and arranger. I met Akenya in Boston a few years ago and I'm still inspired by her journey to music creation and better self.  She's now based in Chicago and releasing a NEW single tomorrow, don't forget to check it out at: http://www.akenyamusic.com/music/

Q: How would you describe your lifestyle (student/traveling performer/9-5 job/etc.)? 

A: I'm a freelance musician, so my lifestyle varies. Sometimes it's very hectic with tons of traveling and performing, and sometimes it's slow and quite underwhelming for months at a time. 

Q: What gets you out of bed in the morning? 

A: Knowing that every day is an opportunity to create, to grow, and to try to make better than the last. 

Q: What inspires you to do what you do? 

A: Music is my passion - it's been my passion since I was a child and I imagine it'll remain that the rest of my life. I can't imagine my life without it. 

Q: Describe a daily routine that makes you feel great.

A: Light exercise in the morning always makes me feel good.

Q: What is one habit would you like to change? 

A: Honestly, due to my illness I've changed a lot of my bad habits. I would say I could still stand to eat less sugar, even if it is natural sugar. I'm currently addicted to plantain chips haha. 

Q: What keeps you motivated? 

A: Believing in my purpose as a creative to stay inspired, and inspire others. 

Q: Do you exercise regularly? If yes, what do you do and how often?

A: I try to exercise at least 3 times a week, for at least 30 min. But, due to fatigue from chronic illness sometimes I don't. I'm not too hard on myself about it. Even if I get out and walk for a few minutes, I feel good about that just to know my body is moving and capable. 

Q: How to you manage your anxiety or daily stress? 

A: Deep breathing, making music, journaling, talking to family or friends, giving myself reassuring pep-talks. Also, allowing myself to feel what I feel and move through it rather than repress it. 

Q: What was the most important mantra/lesson/idea you learned in the last couple of years? 

A: Patience, Positivity, and Proactiveness have been the words I use to guide me through navigating my disease. 

Q: What's the best piece of advice you've been given? 

A: My doctor told me when I was first diagnosed with lyme disease that "there's a part of you that knows nothing about lyme or its suffering." and that provided a sense of tranquility for me and in a way it has helped me stay in tune with the core of who I am. 

Q: Before going to bed, what do you do to wind down? 

A: Sometimes read novels, or look at blogs, I sometimes sing myself to sleep too. 

Q: I know you've been diagnosed with lyme disease recently. Any tips for others who were diagnosed with it? 

A: There are people who have literally been making funeral arrangements who have come back from this disease! You can overcome! Stay diligent, keep trying new methods of treatment, don't be afraid to tackle this thing from every angle - western medicine, eastern medicine, holistic naturopathy, herbalism, meditation, diet, exercise: anything that can and will help, try it! And don't ever give up. 

Q: It's super frustrating to face such a big change to your health. How did you pull yourself out of most frustrating moment? 

A: By trusting in my intuition, by asking the Universe for all of its help and guidance, and by understanding that this is a chapter in my life, and not one that defines me. I've actually learned so much about health and wellness throughout this journey, so I have to say that even amidst all of the struggle and turmoil, I'm grateful for all that lyme has taught me. I feel that once I overcome this, I'll live an even better life than I was living before I got sick. 

Q: What are the main changes in your lifestyle now, after being diagnosed? Any changes to your performing routine and habits?

A: I can't eat a lot of things - I've been on a strict autoimmune protocol diet that helps A LOT, but I can't eat out. Although, it's restrictive, it's inspired me to get more creative in the kitchen, and I appreciate that. I have to take medicine all throughout the day, so traveling is not really optimal right now. I was never a big drinker, but I DEFINITELY don't drink now; don't really party much. It's a very quaint, simple lifestyle, but it can be nice to have that kind of peace and regeneration.