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The Neuroscience of Peak Performance and Flow

April 27, 2016 IM

by Patrick Gannon, PhD

What is happening in the minds and bodies of musicians when they play their best? Are peak performance and flow simply subjective perceptions of performance excellence? Or are they distinct mental states, a defined set of optimal behaviors, a heightened sense of self-confidence, or some trick of human nature?

Despite the confusion, we do have language to describe these experiences—being in the zone, in rhythm, in a groove, playing unconscious, even the so-called runner’s high. For starters, peak performance refers to optimal physical behaviors while psychologists define flow as a mental state. For musicians, it is both mental and physical because they feel calm, alert, focused, challenged, but confident, fully present in the moment, and supremely engaged in the task. When that feeling is combined with the thrill of playing music, magic happens!

If only we could bottle it, right? Thanks to neuroscience, that may now be possible.

The Flow State

Research findings have identified three markers that reveal how and when flow occurs: alpha/theta brain waves, brain coherence, and deactivation of the dorso-lateral, pre-frontal cortex (DLPFC).

First, the flow state is located at the crossover point between alpha and theta brain waves (eight Hz and below). As brain activity slows from the relaxing alpha state into the hypnagogic theta wave (below eight Hz), the neural network becomes highly attuned. At the same time, super fast (40-100 Hz) gamma waves, triggered by theta, go into action. Gamma waves connect information drawn from various parts of the brain that are involved in music making, allowing skill learning, procedural memory, and self-expression to settle into rhythm.

Secondly, synchronization between the left and right hemispheres or brain coherence is another marker for flow. Both hemispheres must be working complementarily to integrate artistic expression and technical skills. Cardio exercise, meditation, and yoga along with brain-based clinical techniques, like eye movement desensitization and reprocessing (EMDR), all promote brain coherence through bi-lateral stimulation.

Enhancing Flow

Finally, a temporary brain state called transient hypofrontality has been identified that enhances flow by lowering the activation of the DLPFC. This part of the brain holds our inner critic, that voice of doubt that can trigger cognitive anxiety. Cardio exercise redirects blood flow away from the DLPFC to the motor parts of the brain, enabling a more embodied focus without interference from self-consciousness, distraction, or negative thinking.

These findings can be applied to mental skill training that has been the hallmark of sport psychology over the last 50 years. The six key skills are relaxation, imagery, goal setting, self-talk, concentration, and pre-performance routines.

1) Relaxation is the first key because performance anxiety usually inhibits peak performance. Anxiety and physiological arousal must be regulated before peak performance and flow can occur. Exercise is a basic treatment for all types of anxiety. Daily meditation over a minimum of eight weeks reduces both state and trait anxiety by lowering the resting heart rate and enhancing brain plasticity.

2) Imagery engages the power of the senses, especially visualization, to mentally depict what peak performance should look and feel like. Cardio imagery and rehearsal is a new technique that combines mental rehearsal with moderate cardio exercise (120-140 heart rate, using an elliptical trainer or stationary bike) to prime learning and reinforce process goals. Mental rehearsal is effective because mirror neurons activate various muscle groups via the peripheral nervous system in the same way as with physical practice.

3) Goal setting is a motivational tool for directing one’s efforts toward optimal learning. Goal setting supports deliberate practice that encourages musicians to concentrate their efforts on their most challenging repertoire. Exercising in the morning before practice, while mentally focusing on what needs work, helps identify practice goals and primes the brain for learning later on.

4) Self-talk reveals the psychological relationship between the person and the performer, such as having a positive outlook and being mentally tough when under stress. Research shows that positive thoughts and feelings promote creativity whereas negative emotions stimulate critical thinking that can lead to self-consciousness. Not surprisingly, a positive mental attitude is a key component
of flow.

5) Concentration emphasizes attention skills and mental discipline to focus on the challenges involved in music performance. The mind must be fully engaged in the moment, free of distractions, and immersed in the task. Quite simply, the best way to build focusing skills is to learn to live in the moment. Not so easy, as many of us have found out!

6) Pre-performance routines allow musicians to find that groove that activates a positive performance mindset. The key tools are breathing and centering exercises, locking into one’s optimal zone of activation and converting pre-performance jitters into excitement.

Ultimately, playing music in the flow state is its own best reward, one reason why musicians are so passionate about pushing musical boundaries. So when it happens, embrace it!

Patrick Gannon, PhD is a Clinical and Performance Psychologist in San Francisco available for consultation in person, phone or via Skype. Dr. Gannon is a national presenter and former competitive tennis player and coach as well as a member of the Performing Arts Medicine Association (www.artsmed.org). You can contact him at PeakPerformance101.com and drpatrickgannon@gmail.com

Health, Resources

When the Sound Won’t Stop – 3 Ways to Battle Tinnitus

March 23, 2016 IM

For musicians, tinnitus is an occupational hazard. Beethoven was famously afflicted. According to Hearing Education and Awareness for Rockers (HEAR), nearly 60% of the Rock and Roll Hall of Fame’s inductees are hearing impaired, many suffering from bouts of tinnitus. Although almost always described as a constant ringing in the ears, there is a litany of sounds that sufferers ascribe to the noise: clicking, humming, hissing, buzzing, piercing, throbbing, roaring, whooshing, or chirping—much like an orchestra of cicadas.

Following a deafening noise, a car accident, or an especially loud concert, the average person will experience some form of tinnitus, but only a small percentage of the population lives with it. A rare kind, called objective tinnitus, or rhythmic, is associated with circulation and vascular problems because it often keeps time with the person’s heartbeat. A doctor can hear it with a stethoscope which, although still aggravating for the patient, can at least be heard by someone else. Subjective tinnitus, on the other hand, the most common kind, is only heard by the sufferer, but emits a seemingly phantom, yet deafening, noise.

Research shows that hearing loss results in less external sound stimuli reaching the brain. In response, the brain changes how it processes different sound frequencies, called maladaptive neuroplastic changes. Delicate hairs in the inner ear move to the pressure of sound waves, which triggers cells to release an electrical signal through the auditory nerve to the brain. The brain interprets these signals as sound. If the hairs inside the inner ear are bent or broken, they can leak random electrical impulses to the brain, resulting in ear ringing.

The American Tinnitus Association (ATA) estimates that 20 million people have “burdensome” tinnitus, and two million have “extreme and debilitating” cases. Most patients develop tinnitus as a symptom of hearing loss caused by age, long-term damage, or acute trauma to the auditory system. When the ringing occurs on one side of the brain it may be indicative of something more sinister, like a tumor. Ménière’s disease also affects the inner ear, causing vertigo, ringing, and eventual loss of hearing.

3 Ways to Battle Tinnitus

People with tinnitus can find relief by using hearing aids and other sound-amplification devices. Like a microphone, amplifier, or speaker, hearing aids can supplement the volume of outside noise and increase the amount of sound stimuli received and processed by the body’s auditory system. A good sound therapy plan takes into account individual needs, but the most important factor is to provide background sound in a consistent, systematic way to encourage habituation.

Ear-Level Sound Generators—Ear-level sound therapy devices are worn on the ear, like a hearing aid, and deliver a variety of predetermined or programmable therapeutic sounds. They are appropriate for individuals with minimal hearing loss.

The sounds most commonly available are broadband sounds that many tinnitus patients find tolerable—rainfall or flowing water, for example. Some devices offer preset broadband sounds, and some offer broadband sounds that can be modified.

Any of these devices can deliver a controlled, consistent sound to the ears. This should provide not only some relief but also a feeling of control over tinnitus, which will aid habituation. The volume should be set to a very comfortable level that does not interfere with your ability to concentrate or communicate.

Hearing Aids—Normally intended to improve speech comprehension in a wide range of listening environments, hearing aids can also be programmed in ways that provide therapeutic intervention for tinnitus. The frequency of tinnitus is usually within the range of frequencies included in an individual’s hearing loss. For some people with tinnitus, the use of hearing aids to amplify sound in the range of their hearing loss can also help reduce their perception of their tinnitus.

Combination Units—A combination unit is an ear-level device combining the amplification of a hearing aid with background sound like a sound generator. The devices have an assortment of background noises, including a preset broadband noise, an adjustable broadband noise, and random chime-like tones. Look for a device that allows you to adjust the hearing aid volume and the generated sound volume separately.

Now that most hearing aids have wireless Bluetooth capability, it is possible to stream additional sounds through hearing aids and combination units. As a result, any Bluetooth-capable device can be made into a customized combination unit.

Music Business, Traveling Musician

First, You Have to Get Their Attention

March 18, 2016 Bob Popyk

Years ago, if an indie musician wanted to try to book a club or concert venue, they probably started by calling whoever the decision maker was—the club owner, theater manager, etc.—and tried to get them to hear them play. Today it’s a little different. It’s more than a phone call or a press kit with a CD.

I wanted to find out what gets the attention of someone who books a lot of singles and music groups today. I started with Suzanne Morgan, manager of the Orange Blossom Opry in Wiersdale, Florida. She books many local and national groups and singles. Just this past week she had Ricky Skaggs of Local 257 (Nashville, TN), several local groups, a semi-known comic, and then on Sunday night the ’50s vocal group The Drifters. The previous week included The Gatlin Brothers of Local 257.

The place was packed every night. It’s a theater/concert venue and its promoted well. Wiersdale is not a major metro market. (The nearest town is Oklahawa, and I’m sure you haven’t heard of that either.) Morgan is a seasoned vocalist/performer herself. She knows what draws and what doesn’t. She says she is contacted by dozens, if not hundreds, of people who want her to be booked at the Orange Blossom Opry.

I asked her how she likes musicians to contact her. She says, “I like people who know enough to call the box office, get my e-mail address and cell phone number, and then send me an e-mail with a YouTube link so I can see and hear them.” Morgan says she responds to texts, and returns all calls left on her voice mail. The YouTube video weeds out a lot of people.

Just calling her and asking her to book you without knowing who you are, what you do, or what you sound like, doesn’t usually work. She uses a booking agency, but she books musicians on her own as well. Mogan likes talking to musicians and entertainers who already know her venue. She likes oldies, classic country groups, and tribute performers. She appreciates people who figure out what’s going to appeal to her audience. If you do a good job you will be a repeat performer, but first you have to get her attention. Mogan is a good person to know.

Next, I talked with Tom Greenwood who owns the Greenwood Winery in East Syracuse, New York. He books a lot of local musicians for his bar/bistro at the winery. He said he started with Joe Whiting of Local 78 (Syracuse, NY) and built from there. He says that AFM musicians are usually professionals he can count on.

Greenwood says he likes to develop local talent and always responds to musicians calling the winery to find out who to contact and what they’re looking for. He’s got something going on every week.

If you fit the bill, the next thing he wants to find out about is your social media presence. How big is your following? Are you going to help get the word out that you’re performing at his venue? He doesn’t want “pay-to-play” musicians and he doesn’t want musicians who play for the door. He wants professionals who fit nicely into his bistro scene. Greenwood says you can email him a video and then leave him a voice mail. A little persistence helps. His manager also plays a part in who gets booked.

All in all, it takes a lot of things to keep your calendar full. It’s more than being a good indie musician. Today, you need to have some social media presence smarts, networking expertise, correct contact info, and be willing to put a little energy into finding work. But first, you need to get the attention of the person who might hire you. In today’s market, when your video clip is seen, your texts acknowledged, and emails read, you have a better shot of getting a positive response.

How Accessible Are You?

October 5, 2015 Bob Popyk

You’re a professional musician. You belong to the AFM. As a working musician, you probably compete against others who will play for the door, or bands who will pay club owners to let them play for a piece of the door. Don’t play their game. There are a lot of wannabe, has been, and never-will be musicians out there who want to work, fight for radio airplay, and deal with recording and contractual issues where sometimes money is secondary. You not only want to compete, you want to excel. You want people to know about you, and for them to be able to reach you quickly and effortlessly.

Most musicians have their own websites and downloadable demo tracks. Everyone has PR kits and demo CDs. You need business cards, and you need to be readily accessible. Every promo piece I’ve seen has an email address. It’s good that someone can email you, but what if they need to get a hold of you right now? Maybe it’s a corporate gig that a committee is meeting on. Maybe it’s a group that has a job starting at 9:00 p.m. tonight and needs a replacement for someone who can’t make it. Make sure your cell phone number is listed. Email is not going to do it.

In Nashville recently, an artist at the NAMM Show gave me her CD, along with a business card and asked if I would give her my opinion on it. There was no phone number on her card, just an email address. I asked how I could call her, if there is no phone number on her card. She said to email her. She told me she doesn’t list her phone number because she travels constantly and she didn’t want to get a lot of weird calls from guys who were interested in something other than booking her. I could understand that, but no phone number can hurt a career. The easiest thing would be to list a cell phone number, not a land line (even if you have one). Cell phones give you caller ID. A caller doesn’t know where you are when they are calling.

How easy is it for someone to reach you? Here’s a little checklist for things you need to make yourself accessible to someone who wants to book you:

A phone number where you can be reached. The more numbers (cell, home, agent, etc.) the easier it is to be found when someone needs you to play.
A voice mail message with your name, group’s name, and best time to reach you.
An address—street or PO box/city/state, so people know if you are local and where you are travelling from.
An email address set up with auto email response for when you can’t check frequently, but want to get a message to people to let them know when you will get back to them, and other ways to reach you.
Facebook, Linkedin, Twitter, Instagram, and other social media handles that are clever, simple, and easy to remember.
A professional website with contact information, demo tracks, a calendar of appearances that is updated regularly, and links to you on social media.
A decent business card with all of the contact information listed above and social media handles.
A postcard-size handout with info on your upcoming gigs that you can give to anyone interested in you or your group. (It should contain all the contact information listed previously, as well as social media links.)
A PR kit with a YouTube link to your band and/or a demo CD or DVD. Each piece of your PR kit should contain contact information and social media handles. Make sure it defines your act and makes you stand out from the competition.

Okay, there are nine things to make you more accessible when someone wants to book you. How many of them do you have? As a professional AFM musician, you don’t want to hide your light under a bushel. Let yourself shine out there. Make yourself easy to find.

Getting Your Promo Kit Together

September 22, 2015 IM

by Mike King, author and instructor for Berkleemusic.com

The music industry tends to be a jaded group to start with, and nothing raises the ire of these folks more than a poorly planned and executed promo kit. A poor promo kit is sure to keep your demo or finished CD unopened and not listened to, and the rest of your kit is sure to be sent to the circular bin “with a bullet,” as they say. The good news is, the elements that make up an effective press kit are straightforward, and the essentials will not change much from band to band.

You should create a press kit with several folks in mind—club bookers, radio DJs, and the media—and while the details may change very slightly, there is one thing that you have to keep in mind:

When putting together your promo kit, the first rule of thumb is to put yourself in the shoes of the people that receive these things on a daily basis. The music writers at major US and Canadian local papers, like The Boston Globe and the Chicago Tribune, receive dozens of promo kits per day, and the same thing goes for the popular clubs in your area.

These people have seen it all, and while you may have the urge to create a leather-bound CD wallet, monogrammed with your band’s name, that really stands out from the crowd, I urge you to reconsider and instead let your music, bio, and press clippings do the talking for you.

Common Promo Kit Problems

I worked at an independent record label for a while, and saw more than my share of press kits. And I’m telling you straight up that spending a day in the water of the river Styx in Dante’s Fifth Circle of Hell may be only slightly less preferable than going through amateurish, unsolicited promo kits. Bad promo kits may make you mad, but really bad promo kits make you sad, too. Before we get to the ingredients of a killer promo kit, I want there to be no confusion on what makes up a bad one. For everyone’s sake, please avoid the following:

Too much information—Unless you are in the superstar category, there is no reason to have a dozen pages describing the conditions under which you recorded the record, your political leanings, what the songs are about, etc. The biographical information in your press kit should be informational and concise.

Poor grammar—Misspelling the recipient’s name on your package or cover letter is a big problem. And while it may be cool to avoid punctuation and capitalization in your e-mails and My Space page, it is definitely not cool when you are writing to someone asking them to play your record or book you a gig. You may be an artist, but this is one place where you are going to have to exhibit some professionalism.

An overreaching package—Again, unless you are on a major label or have the dough to send program directors promo items (even then, it doesn’t really matter unless the promo items you’re sending are American Express checks), there is no need to create some grand package to really “wow” the recipient. The truth is, if the music isn’t any good, it really doesn’t matter that you enclosed cookies with your package (true story).

Not enough information—You covered all your bases, your demo is hot, you addressed it to the right person, you’ve got some momentum, and the writer/booker is interested in finding out more. But wait, who are you? Always be sure to put your contact info all over the package. Writers and bookers may not be the most organized bunch and things can easily get separated. Clearly mark your name on the CD, on the cover letter, on your bio—and if you can, make up some cards and drop a few in the package.

Poor research/no prior contact—It’s fundamental that you send your kit to the right person. Never address your promo kit: “To whom it may concern,” or “ A&R.” This is a sure-fire way to get your kit into the trash since many folks don’t take unsolicited kits. Find out who the right person is through a phone call. Also, be aware of what kind of music the organization you’re sending your kit to is into. If you are sending your package to a hard rock label, it’s pretty unlikely they would put out a collection of classical accordion covers. (Unless they rocked, of course!)

Bad tone—Another big turn off is a demanding promo kit. Remember, the goal of the kit is to present your band and your music in the best possible light, and the language you use is important. Be nice. I recall, in particular, one promo kit that came in from what looked like twin sisters who sang folk music. Not only was the cover letter off-putting in tone, but they demanded we send the kit back after we reviewed it! Bad form.

What Makes a Good Promo Kit?

Like many things in life, simple really is better. An effective press kit contains five or six key things: cover letter, bio, your demo or finished product, photo, press clippings, and sometimes a tour schedule.

1) Cover letter—Your cover letter should be addressed to the proper recipient, and attached to the outside of your kit with a paper clip. Tone, content, spelling, and grammar should all be checked. You want this letter to be warm and relatively formal, quick, and to the point. Explain what you are looking for from the recipient as concisely as possible.

2) Biography—In my opinion, the bio is not a place to get cute or overly creative. Present the facts: the history of the band, interesting individual background and/ or accomplishments of the members, the band’s highlights so far, and perhaps some key press quotes.

3) Your demo or finished product—This is the most important part of your kit. No matter how good the rest of your kit reads and looks, if the music is not good or presented incorrectly, you’re sunk. If you’ve got a finished CD together, include a copy in your package. If not, you should prepare a three- or foursong demo.

Song order is very important. You should absolutely lead off with the song that you feel kicks the most ass. And that song needs to kick ass immediately. No one has time to listen to a two-minute intro before the song gets moving. For example, if you are a rock band, you want “Black Dog” as an opener, not “Stairway to Heaven.” And as I mentioned above, it is incredibly important to have your contact info all over your kit, especially the CD.

4) Photo(s)—This is the visual representation of your band. Again, be a bit careful about how artsy it is. The photo should try to capture what one might expect from listening to the music.

5) Press clippings—If you’ve had some past success with the press, your promo kit should include a “Paste-Up” of this media coverage. Format is important here. Any editorial your band gets should be cut out from whatever else surrounds it in the paper. Cut out the masthead of the publication, affix it on a piece of paper with the article below, and be sure to format it all so it looks nice on an 8.5 x 11-inch piece of paper.

6) Tour schedule is optional—If you have an amazing tour schedule, it may make sense to include an itinerary of upcoming shows as well. If the recipient of your kit is not all that familiar with your band and they see you’re playing places like the 9:30 Club in Washington, D.C., or Yoshi’s in San Francisco, they’ll know you are the real deal.

Package all these items up in a straightforward folder and you’re all set. Again, no need for oversized glossy kits. Keep it simple, baby. It’s easier for you, and I guarantee that, even if they don’t say it, the folks that receive your kit will thank you as well.

Mike King is the associate director of marketing at Berkleemusic. Prior to working at Berklee, he was the marketing/product manager at Rykodisc, where he oversaw all marketing efforts for label artists including Mickey Hart, Jeb Loy Nichols, Morphine, Jess Klein, Voices On The Verge, Bill Hicks, The Slip, Pork Tornado (Phish), Kelly Joe Phelps, and Frank Zappa’s estate. King is also the course author/ instructor of several online marketing courses at www.berkleemusic.com, as well as the author of the book Music Marketing: Press, Promotion, Distribution, and Retail (Berklee Press, 2009).

Traveling Musician

Central Withholding Agreements in the US

September 18, 2015 Robert Baird

If you are a nonresident alien (non US citizen) entertainer performing in the US, you are subject to 30% tax withholding from gross income. There are situations in which the withholding requirement does not apply (certain corporations, nonprofit organizations, and certain treaty provisions), but generally most artists should take advantage of central withholding agreements (CWA) with the US Internal Revenue Service (IRS) to reduce this withholding amount.

A CWA is an agreement entered into by the entertainer, a designated withholding agent, and an authorized representative of the IRS. The agreement can cover one event or a tour and the withholding percentage required will be based on an income/expense budget provided by the artist, indicating net profit/loss. In order to access a CWA, your previous US income tax returns must be filed and US taxes paid (or you have arrangements to pay). You also must file a US tax return for the year in which the CWA is granted.

A designated withholding agent must be a completely independent third party (often, it is a venue, agent, manager, accountant, attorney, etc.). The agent is required to withhold and forward to the IRS withholding tax according to the terms of the CWA and provide a final accounting of the artist’s income and expenses.

The advantages of a CWA is that it allows for one withholding agent (rather than several, as on a tour) and the withholding percentage is based on the estimated ultimate tax liability, rather than the blanket 30% withholding required by law. Only individuals may apply for a CWA and for groups of artists in a band or other ensemble, each artist must apply separately.

Filing a CWA application should include:

Application form 13930
Itinerary of events to be covered by the CWA
Income/expense budget with contracts, deal memos, projected merchandise sales, etc.
Power of Attorney or Appointment of Representative form

The regulations for applying are extremely strict in regard to the application date. If the application is received less than 45 days prior to the first event on the CWA application, it will be rejected. The optimum time to apply for a CWA is 90 days before the first event. If you cannot meet these deadlines and the 30% is withheld, you can always apply for a refund (if one is applicable) by filing a US tax return for the year in which you had monies withheld.

When a CWA has been fully executed and signed by the entertainer, the designated withholding agent, and the representative of the IRS, the designated withholding agent assumes responsibility for withholding and reporting tax on the entire tour or event, relieving all other withholding agents from withholding, and eliminating the chances of over-withholding.

Sometimes a foreign entertainer will try to rely on the submission of W-9 or W-8BEN forms or assume that they can rely on a tax treaty provision that allows a certain level of tax-free income. Strictly speaking, the W-9 or W-8BEN form does not negate the withholding because the income is treated as flowing directly to the artist (unless an arm’s-length corporation is involved). Any treaty provisions cannot be considered since the amount of income earned will not be determined until the year’s end. There are, however, certain countries (Armenia, Azerbaijan, Belarus, Georgia, Hungary, Kazakhstan, Kyrgyzstan, Moldova, Poland, Russia, Tajikistan, Turkmenistan, and Uzbekistan) with a treaty-based provision that exempts all US earned income from taxation.

A CWA is a something every foreign artist coming to perform in the US should consider.

—I welcome your questions and concerns.
Please write to me at: robert@bairdartists.com. While I cannot answer every question I receive in this column, I will feature as many as I can and I promise to answer every e-mail I receive.

Health, Traveling Musician

Perform at Your Best: Eating Well on the Road

September 15, 2015 IM

by Karen Stauffer, nutritionist
We all know what’s wrong with eating too much restaurant food on the run. Too much fat, sugar, and salt combined with hurried eating can lead to weight gain, fatigue, sluggishness, and even worsening pre-existing health conditions. Often there’s also a lack of fiber in a road diet, and usually fresh greens are in short supply.

When we’re young, these shortcomings don’t affect us as much. However, the body becomes less resilient the more it has to endure a poor diet, especially when it’s combined with the stress of travel and work. The easiest step to better nutrition, even if on a “road diet,” is to take an enzyme digestive aid. This helps break down food so the body can absorb it more readily, so you will get more nutritional value from food and less indigestion and gas. Taking an enzyme supplement is particularly important for people older than 40 or those taking acid-reducing medication, which might cause you to produce less stomach acid for digestion.

Chewable enzymes are not unpleasant. One brand is Zand’s Quick Digest. It tastes good and helps the body digest all food components: fats, starches, and proteins.

To cut down on unhealthy foods buy a small cooler, about the size that holds six cans of soda. Often these come with shoulder straps and are so convenient, they can become part of your carry-on luggage. Also, buy a refreezable cold pack or fill a zipper bag with ice. Fill the cooler with an apple, an orange, cheese portions, hard-boiled eggs, cherry tomatoes, pea pods, red and green peppers, and carrots. All these healthy foods travel well.

Another way to get a healthy snack on the road is with a small day-pack. Raw nuts, crackers, energy bars, and dried fruit can go in here. Also, toss in a few small aseptic (no refrigeration needed) packs of soy milk, a perfect quick breakfast. Don’t forget a bottle of water. If traveling by car, keep a stock of bottled water in your trunk.

Restaurants are convenient, but that’s where poor eating often happens. Make the most of choice, and substitute healthy items whenever possible. The other week I heard a waitress offer broccoli instead of French fries. That’s a good choice: steamed veggies, with a squeeze of lemon! Also, request “no salt,” “heart healthy,” or “low carb” options, and ask for whole grain breads.

Many of us enjoy fast food now and again, but avoid relying on it on the road. If there is no choice but fast food, avoid soda and milkshakes (substitute low fat milk or juice instead), cheese (fast food “cheese” is not cheese at all), and French fries (ask for a baked potato). Remember, many fast food restaurants offer healthy alternatives now, such as salads, applesauce, and fruit cups.

If traveling through time zones has upset your daily routine, a fiber supplement can keep you regular. Discuss with a professional nutritionist which is the right supplement for your needs: soluble, insoluble, chewable, or a blend.

Health food stores offer other nutritious ideas for traveling musicians. Vitamin supplements are one. Another is to pick up a “green drink” powder. A packet can be mixed with water or juice to make an instant nutritional beverage. Another great, easy-to-pack beverage is Emergen-C. Mixed with water it provides vitamins C and B, minerals, and alpha lipoic acid in a tasty fizzy drink.

If you’re having trouble with insomnia, avoid using alcohol to relax. Instead, try Koppla, a soothing, pleasantly sweet drink mix, which contains lemon balm and other herbs. There are other drink mixes containing magnesium, which acts as a muscle relaxant. One problem with alcohol, especially overindulgence, is that it can cause your blood sugar to drop, waking you up in the middle of the night. Eating too late at night can do the same.

Early morning flights or less-than-regular sleep schedules may mean you have to wake yourself up quickly. Many people turn to coffee, but green tea is a better option. Lower in caffeine than coffee, it’s also rich in antioxidants and contains an amino acid (called theanine) whose calming effects may help balance the caffeine.

Adapt these suggestions to your own needs and limitations. Some people travel well, and they have fewer needs than others. For instance, despite my careful planning, my husband drove to Atlanta and back eating bread, peanut butter, jelly, bottled water, and chocolate soy milk. (At least he took his vitamins!) A weeks worth of PB&J sandwiches would have had me headed for a burger joint, but he thrived on them.

I don’t mean for you to pass on any good regional cuisine that appeals to you. After all, delicious barbecue, jambalaya, or homemade pie can make a trip memorable. But be smart, and don’t live on fatty, salty, sugary, fiber deficient foods, either at home or while traveling. If you eat right, you’ll play better, feel better, be more alert and relaxed, and, hopefully, live longer!

–Professional nutritionist Karen Stauffer is owner of River of Life Natural Foods in Lahaska, Pennsylvania. Nutritional counseling is available by calling her at 1-800-651-3820. Read more articles on her specialty–nutrition for musicians–at www.professorpooch.com/Karen.htm.

Health, Resources

Stretches That Every Musician Should Do Before Playing

September 14, 2015 IM

by Janet Horvath, author of Playing (Less) Hurt: An Injury Prevention Guide for Musicians available at musicdispatch.com

Editor’s Note: In this article Janet Horvath suggests some stretches she devised to help musicians alleviate body stress. Always check with a physician before trying stretches, especially if you have an injury. Always stop any movement that causes pain.

When I was a young student I was criticized for moving too much when I played. “Don’t beat your foot! Don’t wiggle! It’s too distracting,” said my teachers. Unfortunately, these mantras were more important than just limiting comfort and self-expression. Although playing music is expressive and creative, we sought to quell the tendency to move and flow with the music. We were admonished to never “stick out.” As a result, we often sit like statues.

Studies today indicate that humans are born to move. Being static, still, and motionless is detrimental to our health. Static effort, or holding a position, is also much more strenuous on the body. Muscles tighten, blood flow is constricted, oxygen is not replenished, and waste products are not flushed out. Static positions make us tire sooner, and then we hurt. On the other hand, we can engage in a dynamic movement for a long time because blood is replenished with fresh oxygen.

There are unobtrusive ways to reduce tension build up and give our bodies mini breaks. I have devised a series of moves I call Onstage Tricks™ to alleviate tension even while performing. The essential guiding factor is to do the opposite motion of the positions we are required to hold while we play.

Sitting properly is the first step. Make sure that you are sitting in the optimum position for your height and instrument. Your chair should be high enough so that your knees are lower than your hips. If you are diminutive, sit forward so your feet don’t dangle. Your weight should be forward with a slight lumbar curve in your spine and feet flat on the ground. Keep your shoulders down and facing forward. Avoid turning or twisting your torso, leaning left or right.

Starting with those targeting the top of the body, try some of the following moves during practice or performance, or whenever you have a few bars of rest. These exercises are effective even if you only have time to do them once. However, if you are able to do them more than once, it’s all the better.

The following are stretches that every musician should do before playing

For the neck:

Keep your head erect and tuck in your chin gently. This is a very small movement.
Tuck your chin as above. Keeping your shoulders relaxed and down, slowly turn your head to the right and look over your right shoulder; return to looking forward. Repeat, turning your head left, looking over your left shoulder.
Again, start with a chin tuck. With shoulders relaxed and down, slowly tilt your head so the right ear is over the right shoulder. Return to neutral. Repeat on the left side.

For shoulders and pectorals:

Do one big shoulder shrug bringing the shoulders toward the ears, while taking a deep breath. Relax, release your shoulders, and breathe out.
Do one big shoulder circle. Bring your shoulders forward, then up toward your ears, then back opening your chest, and relax bringing your shoulders to normal. Repeat, reversing the direction of the circle.
While keeping your shoulders down, squeeze your shoulder blades together.
Clasp your hands behind your back, and while keeping your elbows straight, but not locked, pull your shoulders gently backwards.

For the arms:

Let your arms uncurl often and hang by your sides. (If you must hold your instrument, do one arm at a time.) While keeping your elbows fairly straight, but not locked, turn your palms outward, with your thumbs pointing away from your body. Moving slowly, reach gently backward.
Place your hand palm down on the chair behind you. While keeping your elbow fairly straight, but not locked, lean gently onto your hand, stretching the inner arm. Repeat with the other arm.

For the back, spine, and pelvis:

Take a deep breath in and then empty your lungs. Now, contract your abdomen. Imagine pulling your belly button inward. Release.
Roll your pelvis forward and back, putting your back into a “C” curve. Momentarily press your lumbar spine backward and then return to neutral. This is a very small movement. Rock from one gluteus to the other, side to side.
Squeeze your buttocks and release. This can be done while standing or seated.

For the hips:

Keep your feet on the floor and turn one knee inward as you sit, rotating the hip joint. Repeat with the other leg.
Adjust the position of your feet often.

For healthy overall circulation:

Keep your heels on the floor and lift your toes. Then, keep your toes on the floor and lift your heels. Do circles with your ankles.
If you are able to, alternate playing seated and standing. While standing, avoid locking your knees; keep them slightly bent with feet apart. Avoid overarching your back and crouching or slumping forward. Keep your head and torso erect and face forward with shoulders down.

Awareness is the key to injury prevention. These and many more “moves” for musicians are displayed in my book. Make up some of your own as well, with the goal of maintaining fluidity and ease, while avoiding tightness and tension. You’ll feel better and you’ll play better too.

Music Business

Marketing 101: A Good Old-Fashion Phone Call

August 28, 2015 IM

In the modern day many people will more readily send an email than physically call a person. Emails, social media, and other communication is great way to get in touch with people, but sometimes the most successful way is a good old-fashion phone call. A well-developed telephone technique is crucial to the success of the client contact process. Potential clients can sense when you don’t feel confident, even when that conversation is over the phone.

If you lack confidence or if you are shy, you should consider getting advice on how to put forward a strong verbal presentation over the telephone. Many books have been written on the subject, and they are not just for telephone salespeople. Anyone who uses the telephone to drum up business must work on their technique.

Speaking slowly and clearly and learning a “script,” especially when you are cold-calling clients, are some of the techniques worth knowing. Another is how to follow up on cold calls. Yet another is how to leave a message on voice mail that will be memorable, which is a technique a little like a 30-second elevator pitch without the business card.

Some musicians don’t think it’s respectable to call a client themselves. They believe that clients have less respect for musicians who represent themselves than for musicians who are represented by an agent. Therefore, some musicians prefer to have an agent who will call clients on their behalf.

However, you should consider that TV commercials where the owner of the car dealership or mattress emporium represents him or herself are rated higher and more effective than commercials that don’t have an owner present. This was part of the secret behind the rise of the Wendy’s restaurant chain, under the charismatic leadership of Dave Thomas, who often appeared in national TV ads.

Following this logic, clients may well be more convinced of your skills as a musician and bandleader if they talk to you in person, rather than through an agent. Plus, one of the benefits of representing yourself is that you at least know how you are being presented.

Telephone calls are still one of the least expensive and most effective ways of self-promotion. If your phone technique is good, and you present yourself and your band in a memorable way, clients will recall you when you phone again.

For example, Hal Galper of Local 802 (New York City) remembers the time he sat on a panel at the International Association of Jazz Educators’ convention in Atlanta, Georgia. His name was mentioned often on the panel, and many of his clients were present. At one point the moderator asked, “Is there anyone here who has not received a phone call from Hal Galper?” Everyone laughed, and amazingly only one person said, “I haven’t.” Galper arranged to chat with this person after the panel was over. “It pays to have a good phone rap,” he reminds other working musicians.

Traveling Musician

Travel Advice From the AFM for Musicians Flying with Instruments

August 17, 2015 IM

Making your Reservation

Ask for priority boarding. Request (or purchase) “zone 1” boarding, which will allow you early access to overhead stowage.

Inform carrier representative(s) that you are transporting a musical instrument. Carriers are required to inform passengers about any plane limitations and restrictions.

Rules relating to on-board stowage will apply to any instrument that meets FAA carry-on size requirements.

Packing & Carrying Your Instrument

Remove any sharp tools, like reed knives and end pins, and liquids that do not comply with TSA’s three-ounce regulation.

In case your instrument is not allowed in the cabin with you, be sure to have a proper travel case to avoid damage.

Board early: Overhead and under seat stowage is on a first come, first serve basis. Once an instrument is stowed in-cabin, it cannot be removed or be replaced by other bags.

Deal Calmly with Problems

If you are stopped by a flight attendant, calmly and quickly explain the precautions you have taken to prepare your instrument to safely travel in-cabin.

Be accommodating. Suggest placing the instrument in the storage area designated by gate and flight attendants.
If necessary, immediately ask to de-plane so that you can resolve this matter with airline supervisors.
Be prepared for the possibility that you may not be able to travel with your instrument in the cabin.

Study and follow guidance outlined in federal and air carrier online policy statements.