Eye movement, concentration, ADD and other distractions
Posted: Mon Sep 22, 2014 11:53 am
Each of us is much different from the other, not just in physical characteristics, but also in neuro/psycho/motor/etc areas. I discovered later in life that I have an eye muscle issue that keeps my eye movement in reading from moving smoothly across the line of music or for that mater whatever I am reading.
I am also dealing with an attention/concentration/distraction issue. I suppose I could say I have ADD disabilities, but to me that would be a cop out. There are a few other issues, but my point is that if we want to play well, it helps when we can target our weaknesses and work to improve the situation.
I doubt that anything I do will ever totally "cure" the eye muscle/dyslexia issue. However, exercising by directing the eye motion to follow a left to right route on a line and then smoothly move to the next, has become part of my warm-up. It is as necessary for me as anything where the horn is on the face.
The attention/concentration issue takes another warm-up based on fixed concentration. I developed this trick about 30 years ago when preparing a solo appearance with the VW Concerto. The concerto, if I remember, is over 15 minutes. My attention span, before being distracted was much less than a minute. It may seem silly and not a great use of time, but my solution was to stare at the sweep hand on a wall clock and try to follow it for the 15 minute time of the piece on which I needed to focus. Actually that time made for a great break between heavy exercising on the chops. I worked on this pretty much daily for several months and finally I could stay completely focused, without the slightest distraction, for the 15 minute sesson. I've talked to some professionals about it, and I've heard it referred to as "hyperfocus."
These days, whatever I am practicing, I need to stay in my "hyperfocus" mode. So many elements of performance are constantly involved and competing for my attention. For me, solfege, while playing is the first thing to slip away, then the issues of breathing and tongue placement begin to lose their acuity.
There are other, more subjective and subtle elements of interpretive style that begin to blur away when too much attention is required on one specific issue. So the most difficult exercises, while they are important to stretch and strengthen us, it is the simpler ones that allow us to keep the various elements in balance.
Okay, even for me, this is all somewhat idealistic, and one might say "sure, all on a good day and in a perfect world." But when I do warm up carefully and include the neuro/psycho issues, I find myself much more able to play, what in I believe, is a very artistic mode.
I am very interested in collecting information and experiences from others about these and similar issues.
I've mentioned in other posts that I am 67 (a geezer of sorts) and I just do not want to give up, especially now that my musicianship is at its peak. Many of us are in this boat. While I am not a serious threat to any young aspiring young player, I am not anywhere near "ready to pack it in." There are issues that "the more mature" tuba/brass players are dealing with and like elders in daily living, there are routines that we need to follow, like eating that "damn banana" every day.
Cheers.
Paul (who is "usually always" thinking too much) Maybery
I am also dealing with an attention/concentration/distraction issue. I suppose I could say I have ADD disabilities, but to me that would be a cop out. There are a few other issues, but my point is that if we want to play well, it helps when we can target our weaknesses and work to improve the situation.
I doubt that anything I do will ever totally "cure" the eye muscle/dyslexia issue. However, exercising by directing the eye motion to follow a left to right route on a line and then smoothly move to the next, has become part of my warm-up. It is as necessary for me as anything where the horn is on the face.
The attention/concentration issue takes another warm-up based on fixed concentration. I developed this trick about 30 years ago when preparing a solo appearance with the VW Concerto. The concerto, if I remember, is over 15 minutes. My attention span, before being distracted was much less than a minute. It may seem silly and not a great use of time, but my solution was to stare at the sweep hand on a wall clock and try to follow it for the 15 minute time of the piece on which I needed to focus. Actually that time made for a great break between heavy exercising on the chops. I worked on this pretty much daily for several months and finally I could stay completely focused, without the slightest distraction, for the 15 minute sesson. I've talked to some professionals about it, and I've heard it referred to as "hyperfocus."
These days, whatever I am practicing, I need to stay in my "hyperfocus" mode. So many elements of performance are constantly involved and competing for my attention. For me, solfege, while playing is the first thing to slip away, then the issues of breathing and tongue placement begin to lose their acuity.
There are other, more subjective and subtle elements of interpretive style that begin to blur away when too much attention is required on one specific issue. So the most difficult exercises, while they are important to stretch and strengthen us, it is the simpler ones that allow us to keep the various elements in balance.
Okay, even for me, this is all somewhat idealistic, and one might say "sure, all on a good day and in a perfect world." But when I do warm up carefully and include the neuro/psycho issues, I find myself much more able to play, what in I believe, is a very artistic mode.
I am very interested in collecting information and experiences from others about these and similar issues.
I've mentioned in other posts that I am 67 (a geezer of sorts) and I just do not want to give up, especially now that my musicianship is at its peak. Many of us are in this boat. While I am not a serious threat to any young aspiring young player, I am not anywhere near "ready to pack it in." There are issues that "the more mature" tuba/brass players are dealing with and like elders in daily living, there are routines that we need to follow, like eating that "damn banana" every day.
Cheers.
Paul (who is "usually always" thinking too much) Maybery