James Boldin's Horn World

Thoughts on Teaching and Playing the Horn

Posts filed in Performing

Thoughts on Performing Three Recitals in One Week

September 24, 2019

My recent recital tour went very well, with enthusiastic and engaged audiences at all three venues. Sincere thanks again to my hosts at the University of Arkansas (Dr. Timothy Thompson) and Mississippi State University (Dr. Matthew Haislip). Although the change in my normal routine combined with lots of driving was a bit tiring, the tour was a great experience, and something that I would happily do again. On the horn playing side, performing the same program three times in one week was not as grueling as it might seem, and my preparation was more or less the same as for any other solo performance. However, I made sure to build in a rest day in between each of the performances. On those days I warmed up for about half an hour, but otherwise did very little playing. I would also add that this recital was a bit shorter than what I might program for a one-off performance, just to provide a little extra cushion in case of fatigue. Things sounded and felt pretty good on all three nights, although I definitely noticed a cumulative effect by the final recital. Nevertheless, I thoroughly enjoyed the opportunity to dig deep into each work and take some chances that I might not normally take if I were only performing them once.

If you would like to listen to one of our performances, here are videos from our recital at the University of Arkansas in Fayetteville, AR. Enjoy!

Nocturno, Op. 73 by Bernhard Eduard Müller

Sonata for Horn and Piano, by Gina Gillie

Romanza for Horn and Piano by Jan Koetsier

Reflections for Horn and Piano, by Paul Basler

Horn Pedagogy Videos and More from Eli Epstein

April 30, 2019

Renowned horn pedagogue and performer Eli Epstein has a posted a  new video on Breathing and Breath Support to his YouTube Channel. Mr. Epstein gives a concise, yet detailed and anatomically correct, explanation of breathing, and also demonstrates how to put these concepts into practice. Before further discussion, you should watch the video!

As I’ve mentioned in previous articles, Mr. Epstein’s approach to the horn is relaxed, methodical, and overwhelmingly positive, which makes for a very effective teacher. One especially unique element is the use of a chair to engage the same muscles used in breath support. Mr. Epstein expertly demonstrates by playing Mendelssohn’s Nocturne from A Midsummer Night’s Dream, accompanied by a silhouette and animated meter showing varying levels of breath support.  There is a lot of information packed into this six and half-minute video, so it should be viewed multiple times if possible.

If you like this video and find it useful, be sure to check out his other videos on Relaxation Before Performance and Radical Practicing. The relaxation video comes at a very fortuitous time, as many of us in the education field are approaching the end of our academic year. If you find yourself getting tense and more stressed than usual, take five minutes to listen to this video. You’ll feel more relaxed afterwards.

In Radical Practicing, Mr. Epstein discusses and demonstrates the importance of varied repetition as the pathway to learning new material. When we repeat material over and over in exactly the same way, we become bored, even if we continue making the same mistake. Varying our repetitions to target specific elements of a passage is a much more effective way to learn and retain. On a personal note, this concept played a huge role in the development of my etude book Solo Training for Horn.

If juries, final exams, and other end-of-term tasks are starting to stress you out, take a break and view the above videos. It will be time well spent!

Brass Pedagogy Interview Questions

April 22, 2019

Earlier this semester I was contacted by David Mercedes, a doctoral tuba student at the University of Iowa, with several interview questions for his Advanced Brass Pedagogy course with Professor Jeffrey Agrell. David had some very insightful questions, and I have shared these (and my candid responses) below, with David’s permission. The questions are similar, though not exactly the same, as those posted by John Ericson at Horn Matters. I assume both projects are for the same pedagogy class – BRAVO to David Mercedes, Professor Agrell, and the rest of the Advanced Brass Pedagogy class on a fantastic project!

During your years of collegiate teaching, what do you think you have brought to your studios that has been most valuable to them?

I think I’ve brought a variety of professional experiences as well as enthusiasm and passion for what I do.

What is the best way you motivate your students?

Leading by example! I never ask students to do anything I don’t already do or have done in the past. I try to be as excited as I can about whatever it is that they/we/I are doing, with the hope that my excitement is contagious. Attitudes are contagious, and having a positive attitude is one of the most important attributes you can bring to your teaching.

How do you work with students who don’t seem to be motivated, and are complacent with not progressing as a musician?

I try to find something that they are interested in, whatever that may be, and use that as a conversation starter. Students almost always have something they are passionate about, and I try to help them transfer some of that passion to their musical studies. I ask them to provide both long and short-term goals, and we use that as a basis for materials and strategies covered in lessons.

What are some of your recruiting strategies?

Recruiting has been and continues to be a major component of my current position. Here is a short list:

  • Regular visits to local schools
  • Recruiting tours with other brass faculty
  • Develop a robust, professional online identity through website, social media, YouTube videos, etc.
  • Email, hand-written letters to prospective students
  • Annual on-campus recruiting events (Brass Day, Horn Day, etc.)
  • Building relationships with local music educators

How strict is your personal practice plan? What makes you stick to it, and how often do you change it?

I’m fairly regimented in this area, although age and experience have taught me to be more flexible. I strive for 2 hours of focused practice throughout a work day, unless rehearsals, performances, or other obligations prevent it. I enjoy practicing and learning new repertoire, and that’s what keeps me motivated. I am almost always planning a future program in my mind and thinking over repertoire choices.

How did you go about getting invited to perform at festivals, conferences and other institutions?

Persistence – keep applying for as many of them as you can and eventually your proposals will be accepted. Ask for feedback on your proposals from others who have been successful in applying for those festivals/conferences. Cultivate relationships with people in and out of your field – you never know when those relationships may bear fruit. Be a GOOD PERSON.

What advice would you have for someone who is looking to follow a career path like yours?

Stay interested in what you do, and stay positive. Figure out what it is that you do well, and continue to improve on those things. You can’t do everything, and no one expects you to. Seek out others who are doing the same kinds of things you are and ask them questions about their success, failure, etc. Be honest with yourself and your capabilities – this is very important in avoiding burnout. Try to avoid over-committing yourself. Be especially careful in how you represent yourself on social media. This is incredibly important today.

What is a typical day like for you?

It really varies depending on my teaching and performing schedule. I almost always start the day with some meditation and breathing exercises, followed by a warm-up/maintenance routine. I feel like if I can get that part completed early in the day then I am well-prepared for whatever challenges come my way.

What is the on – campus interview like?

Varies depending on the position and duties, but here are some general components.

  • One or more meetings/meals with the search committee
  • Exit meeting with search committee
  • Q&A with faculty/students
  • Meetings with various administrators
  • Master class and teaching demonstration
  • Rehearsal with collaborative pianist and a recital performance, hopefully not on the same day.
  • Reading session with faculty ensembles (if applicable)

These can be stressful, and you should make sure you take time throughout the day or days that you are there to relax and have a little time to yourself. Remember that from the time you are picked up at the airport until the time you leave that you are being interviewed. The members of the search committee will probably be very relaxed and social with you and each other, which is a good thing, but don’t let it lull you into a false sense of security about your words and actions. Always represent yourself as positively as possible!

What do you think has been your biggest challenge as a musician?

Balancing the physical demands of playing with achieving musical goals. I tend to be an analytical player, which is helpful as a teacher and performer, but can sometimes get in the way.

Recital Day Routine

October 22, 2018

You’ve spent weeks and months preparing for that solo recital, and everything is prepared to the best of your ability. Your dress rehearsal went well, and you feel confident about the big day…now what? The recital day routine, like many other aspects of musical performance, should be contemplated and worked out well in advance. Over the years, I’ve arrived at a plan that helps me feel relaxed and ready to perform. After experimenting with different things, I’ve found something that works for me.

In a perfect world, we would have the freedom to clear our schedules on the day of a big performance or audition, and spend our time in quiet reflection until the appointed time. The reality though is that work and school schedules will proceed as usual, regardless of our own personal performance calendars. Feel free to use any (or none) of the following as you work out your own pre-recital routine!

  • Day Before: Get a “normal” amount of sleep the night before, usually defined as 7 to 9 hours for adults. If my schedule allows, I might sleep in for 10-15 minutes extra, but no more. I generally practice as I normally would, perhaps running the program one final time or spot checking places as necessary. Dinner the night before isn’t restrictive, but I am careful not to overindulge on anything too spicy or salty.
  • Morning: Follow my normal warm-up routine, but with some modifications (see below). Continue with my usual  teaching and/or meeting schedule. I also make sure to drink lots of water throughout the day (which I normally do). Here’s my typical recital day warm-up routine.
    • Breathing/Relaxation exercises (5 minutes)
    • One or two slow studies from Nancy Sullivan’s Flow Studies for Horn, or other similar materials.
    • 15-20 minutes of my normal maintenance routine (currently Douglas Hill’s Warm-ups and Maintenance Sessions for the Horn Player), then STOP. No more practice for the day. I might play briefly in some lessons if necessary, but in general I avoid too much extra playing throughout the day.
  • Lunch/Afternoon: Lunch as normal, but again avoiding anything too spicy or salty. Keep drinking water! For a 7:30 p.m. recital, I try to leave school by 4:00 p.m. if my schedule permits so that I can relax at home for an hour or so before dinner. Once at home, I “unplug” from work emails, social media, and pretty much anything that might be stress inducing! As an aside, this is my normal practice even on a non-recital day, and I have found it very helpful in sustaining a career without getting burned out. I might read, spend time with family, or simply sit quietly and visualize the upcoming performance. Time doesn’t usually permit going through the entire program in my mind’s ear, but starting each piece or movement internally can be helpful. *If you can’t make it back home from the office or school before recital time, find a quiet place free from distractions and do the same thing. Perhaps a brief phone call to family or a close friend to help settle your mind.
  • Dinner/Evening:  Eat a light dinner or even just a substantial snack, making sure that I eat enough to have energy but not so much that I feel overly full. This might take some experimenting to figure out. A typical recital day dinner for me might be a sandwich or a small helping of whatever is on our dinner menu at home. My go to snacks are fruits, almonds, and peanut butter. Anything that provides energy and doesn’t dry you out is good. I avoid too much caffeine, maybe having a cup of green tea after the meal/snack. Brush my teeth, change into recital clothes, and head to the hall by 6:00 or 6:15 p.m. (I have about a 20 minute commute).
  • At the Hall: I like to get to the hall in plenty of time to do some more relaxation/breathing exercises, and go through the same flow studies with which I began the day. I might add in some light flexibility or longish tones to loosen back up if necessary. By this time it’s close to 7:00 p.m., at which point I put the horn down and read or just sit back and relax. I try to touch base with any collaborators and/or stage hands on the recital, just to make sure they have everything they need from me. The house at my university generally opens at 7:15 p.m., and everything I need for the first half is on stage by this time. A few minutes before going out, I play a few flexibility exercises in the middle register, empty all the water out of my horn, and take several deep, relaxed breaths. Go out and have fun!

All of the above is subject to modification, and I would love to hear from other performers about their pre-recital routines. It’s a fascinating subject, with plenty of room for further study.

Upcoming Horn Events

April 4, 2018

There are lots of great horn events coming up as we head into the last month of the semester at ULM. See below for a brief summary of each. If you are in the area we would love to see you!

  • Northeast Louisiana Horn Ensemble Concert: Wednesday, April 11, 7:30 p.m. Emy-Lou Biedenharn Recital Hall. Now in its 11th season, the NELA Horn Ensemble will present a concert loosely built around a movie theme. In addition to a few traditional horn ensemble works, we will also perform music from several films, including Silverado, The Spy Who Loved Me, and Game of Thrones. Admission is free and open to the public.
  • David Howard, Senior Recital: Thursday, April 12, 7:30 p.m. Emy-Lou Biedenharn Recital Hall. Senior Music Education Major David Howard will perform a recital of works by Mozart, Hindemith, and Arnold. Admission is free and open to the public.
  • Low Brass Day (Exhibits by Houghton Horns!) Saturday, April 14, 9:00 a.m.-6:00 p.m. Biedenharn Hall  Assistant Professor of Low Brass Dr. Jeremy Marks and Adjunct Instructor of Tuba Tracy Bedgood  host this event for trombone, tuba, and euphonium players, featuring Guest Artist Wes Lebo of the Memphis Symphony. Though not a horn event, per se, exhibits will be provided by Houghton Horns. In addition to a selection of S.E. Shires trombones, and lots of accessories, Houghton will also be bringing their new Verus model horns and mouthpieces. If you play the horn or low brass and live anywhere nearby, you don’t want to miss this event! Admission is free and open to the public.
  • Boldin Performs Pele by Brian Balmages with the ULM Wind Ensemble: Thursday, April 19, 7:30 p.m. Brown Auditorium This is the first of two solo performances for me this semester, and I’m really looking forward to it. Balmages writes really well for the horn, and Pele is a lot of fun to perform. If you don’t know this piece be sure to check out the numerous recordings available on YouTube. Admission is free and open to the public.
  • Boldin Performs Mozart, K. 447 with the Monroe Symphony Orchestra: Saturday, April 28, 7:00 p.m. Brown Auditorium Compared to violinists and pianists, horn players rarely get the opportunity to perform in front of an orchestra. I’m excited and honored to perform the Mozart with the Monroe Symphony, conducted by Dr Clay Couturiaux. For tickets and more information, visit http://www.mymso.org/

Descant Horn “Hacks”

June 5, 2017

I’ve been playing lots of descant horn lately – mostly in preparation for an upcoming recording project, but also for some new music concerts –  and have noted a few tips to improving performance.

Find the Right Mouthpiece: After experimenting with several mouthpiece options on the descant horn, I ultimately found the best results on my regular double horn mouthpiece, a Houser Standley GS12 cup with a Model “E” rim. While models such as the Moosewood BD and Osmun Haydn cup did offer lots of ease in the high register, they just never felt quite right on my face. For me I think it had something to do with not being able to comfortably fit my lips into the very shallow cups on these models. The Standley isn’t a huge mouthpiece either, but slightly larger than the Moosewood or Osmun. However, I would recommend trying out these models (or something similar like a Schilke 29) on a descant to see what you think.

High E-flat Fingerings on the High F Horn: Yes, the descant horn responds easier in the high range, but (at least for me) intonation can be a bit goofy above the staff using conventional high F fingerings. In addition to using a slightly more covered right hand position, I’ve also found that using High E-flat horn fingerings on the High F side works quite well for the A-flat, A, and B-flat above the staff. If you don’t have a high E-flat horn fingering chart handy, the new fingerings would be: T1 for A-flat (instead of T23), T2 for A (instead of T12) and T for B-flat (instead of T1). On the horn I’m using (an earlier model Paxman 40M), these alternate fingerings really sound and feel good. Give them a try yourself.

While these and other tips can certainly improve performance on a descant horn, the best “hack” isn’t a hack at all – lots of practice on the instrument. For practice materials I highly recommend two books: Martin Hackleman’s 21 Characteristic Etudes for High Horn Playing, published by Editions Bim,  and Dr. John Ericson’s Playing Descant and Triple Horns, published by Horn Notes Edition. In addition to etudes and orchestral excerpts, the latter contains lots of helpful hints for high horn playing, including fingering charts for descant (High F and E-flat) and triple horns.

Happy practicing!

Surviving a Three-Service Day

December 21, 2015

nutcracker_coverDecember is a busy month for musicians, especially brass players. With frequent Holiday Pops concerts, Nutcracker ballets, and church performances, double and even triple service days can and do happen. A “service” is usually defined as a 2.5 hour rehearsal or performance, and while many orchestras and other ensembles have contract language limiting the number of them in a single day, all bets are off if you accept work from multiple organizations. Here’s what my schedule this past weekend looked like:

  • Friday
    • Orchestral Rehearsal, 7:30-10:00 p.m.
  • Saturday:
    • Orchestral Rehearsal, 10:30 a.m.-1:00 p.m.
    • Church Service Rehearsal, 2:00-4:30 p.m.
    • Orchestral Concert, 7:30-10:00 p.m.
  • Sunday
    • Church Service performance, 10:30 a.m.-noon
    • Orchestral Concert, 6:00-8:30 p.m.

I’m happy to report that I made it through the weekend relatively unscathed, with chops intact! However, these being my last professional engagements for the year, I’m looking forward to a few light days of horn playing. If you wind up with some double and triple-service days in your schedule, here are a few recommendations to help deal with them. Some are specifically related to brass playing, while others are more general and pertain to overall well being. If you have any suggestions based on your own experiences, feel free to comment below.

  1. Be in good shape: Going into a busy month like December, I try to make sure that my playing fundamentals are in shape. If you are working through any chop or breathing issues, recovering from a playing-related injury, or coming back from an extended hiatus, I would strongly advise against accepting double or triple services in a single day. Heavy playing sessions with relatively little recovery time between them will only magnify these challenges.
  2. Allow time for a good warm-up and warm-down: Some light, easy playing before and after a heavy day can do wonders to limber up or even prevent a stiff embouchure. Be aware that your lips may feel swollen just after warming up, so make sure you have plenty of time for them to loosen up before rehearsal begins. I personally like to warm up 30-45 minutes before rehearsal begins, and take at least a 5-10 minute break before the rehearsal.
  3. Get adequate sleep: The optimum amount for an individual will of course vary, but the usual recommendation is from 7 to 9 hours per night. For more information, see here.
  4. Drink lots of water: Being properly hydrated will help you stay focused and alert, among many other benefits. For more information, see here.
  5. Alternate Warm/Cool Compresses:  In the case of very stiff and/or swollen chops, alternating heat and cold can be helpful. For more information, see here. Other remedies I have heard of but not had much experience with personally are ibuprofen (for pain and/or swelling – if you have concerns, check with your physician first) and, believe it or not, popsicles.
  6. Know when to say when: Playing through pain or discomfort is NEVER a good idea, and it is  wise to lay out or at least back off on dynamics well before hitting your personal playing limit for the day. You only have one set of lips – take care of it!
  7. Make time for recovery: After all the services are finished, try to take it easy for a couple of days if at all possible. This means different things depending on the individual; for me it means a warm up and brief routine for 20-25 minutes for the next day or so after several days of heavy playing. I rarely take days off, but have found warm-up only days to be very helpful.

On that note, I’ll bring to a close my final post for 2015. Best wishes to everyone for safe and happy holidays, and a great start to the new year. Be sure to check this site in January, as I have several posts planned for 2016: more reviews, thoughts on time management, and an update on Solo Training for Horn, my forthcoming etude book from Mountain Peak Music.

A Recital Practice Plan

November 30, 2015

Photo by Emerald Harris/ULM Photo Services

Photo by Emerald Harris/ULM Photo Services

So be sure when you step, Step with care and great tact. And remember that life’s A Great Balancing Act.
― Dr. Seuss, Oh, The Places You’ll Go!

As this semester draws to a close, I’m gearing up for several performances in December and during the spring. These include: recruiting concerts and a recital with our faculty brass trio, various orchestral performances, and a recital tour with Trio Mélange, a voice, horn, and piano trio (see image at left). The trio consists of myself and two ULM colleagues, Claire Vangelisti, soprano, and Richard Seiler, piano. We’ve performed together frequently over the past few years, including a contributing artist concert at the 45th International Horn Symposium in Memphis, TN. In addition to a faculty recital here in Monroe, we’ll perform at Centenary College of Louisiana, Stephen F. Austin State University, and The University of Texas at Tyler. Our program will include several lesser known, but high quality, works for voice, horn, and piano.

  • Carl Gottlieb Reissiger, 4 Gesänge, Op.117
  • Eurico Carrapatos, Dois Poemas de Miguel Torga
  • Gina Gillie, To the Seasons
  • Auguste Panseron, Le Cor: Romance

It’s a challenging program (approximately 52 minutes of music), and while it would be nice to have an open practice schedule to devote exclusively to this repertoire, as you can tell from the above I am going to be balancing a lot of different material in my day to day work. During graduate school I would have gone through all of this repertoire, plus etudes, ensemble music, and other materials, every day, averaging three and a half to four hours of practice. At this point in my career, though, I simply do not have the time to devote four hours every day to individual practice. Now, I strive to practice for two hours each day, unless I have a concert or heavy rehearsal schedule. When preparing for multiple programs, I usually create a rotation that allows me to practice everything over a period of several days. This approach seems to work, and it is really the only way I’ve found to make sure I cover everything. Here’s my current rotation for the Trio Mélange program. The numbers beside each work indicate specific movements to be practiced.

Day 1 Day 2 Day 3 Day 4 Day 5 Day 6 Day 7
Reissiger 1, 3 Reissiger 2, 4 Reissiger 1,2 Reissiger 3,4 Reissiger   3, 1 Reissiger 4, 2 Reissiger 1,4
Carrapatoso Carrapatoso Carrapatoso Carrapatoso Carrapatoso Carrapatoso Carrapatoso
Gillie 1 Gillie 2 Gillie, 3 Gillie 4 Gillie 1 Gillie 2 Gillie 3, 4
Panseron Panseron Panseron Panseron Panseron Panseron Panseron

The Gillie and Reissiger are both lengthy, four movement works (20 and 17 minutes, respectively), and this schedule allows me to address each piece in its entirety multiple times over the course of a seven day period. The Carrapatoso and Panseron are a bit shorter and less technically involved, and won’t require as much time to prepare. Because of intervening commitments like rehearsals and performances, it might take longer than a week to progress through this seven day schedule. However, keeping track of the dates allows me to pick up where I left off  in the rotation after missing a day. After a warm-up/fundamentals session, I work for approximately 10-15 minutes on each piece, depending on the needs of each day. The remainder of the two hours is spent on ensemble music, etudes, and other chamber or solo repertoire. As the date of the performance gets closer, one or more of these days will be replaced with complete runs of the program.

If you’ve not tried such a detailed approach to recital or audition preparation, give it a shot! You will hopefully find yourself more prepared, more confident, and less stressed out even in the face of multiple performing commitments.

 

Notes from a Master Class on Performance Anxiety

October 12, 2012

To close out this week’s series of master class notes (read Part 1 and Part 2), here are my notes from a talk given by David Sternbach, Research Director of the Center for Arts and Wellness at George Mason University. A former horn player himself, Mr. Sternbach visited a studio class during my time at UW-Madison. Mr. Sternbach has authored numerous articles covering a variety of issues facing musicians and other performing artists.

David Sternbach Master Class, The University of Wisconsin-Madison

  • Excellence is a habit.
  • Stage fright has three stages: 1) anticipatory 2) on-stage 3) afterwards
  • To deal with stage fright (performance anxiety) it is necessary to restore your sense of engagement and reexamine your practice room conduct.
  • Visualize what you want to accomplish.
  • Spend at least some time in every practice session playing something you love.
  • Establish a “minimum emotional standard”.
  • Get the body warm before starting a practice session.
  • Take more frequent breaks.
  • Have zero tolerance for tension – it’s not worth learning a passage of music if tension is the result.
  • Act, don’t react.
  • Construct and practice affirmation phrases, and use them to replace the normal stress response. The affirmation has to be more powerful than a habitual negative statement.
  • As in physical exercise, the cycle of challenge and recovery is important in the practice room. Practice should be regular and patterned.
  • Create an environment in which you are happy.
  • Play for your own delight at the beginning and end of a practice session.
  • Physical fitness, especially cardiac fitness, is very important. Good cardiac health allows the body to recover faster from panic.
  • Rehearse the feelings in the music, as well as the notes and rhythms. Train the mind to feel a certain way.
  • We want alertness, not terror.
  • Real Self vs. Performer Self: It is possible to train an emotional state, and replace negative thoughts/emotions with positive ones.
  • Relaxation training: Practice quickly achieving a relaxed state by stopping suddenly in the middle of practicing and forcing yourself to relax. Abdominal breathing can help achieve a relaxed state.

Notes from a Master Class on Auditioning

October 8, 2012

This week I’ll be posting notes from various master classes I’ve attended over the years, covering such topics as orchestral auditions, college job interviews/applications, and performance anxiety.  Today’s notes come from a class by William VerMeulen given at the Round Top Festival Institute in the summer of 2003. Looking back over these notes I wish I’d either written more or just recorded the entire lecture! However, I think what’s here gives a good overview of the material presented in the class.

Audition Master Class with William VerMeulen, Round Top Festival Institute, 2003

  • The person with the largest “envelope,” and who stays within that envelope, wins the audition.
  • There is tremendous power in the words “I can.”
  • Play with controlled abandon.
  • Adopt a declarative attitude.
  • Audition for the right reasons.
  • Preparation: use penalties, and simulate the performance environment. Never stop at the point of a mistake, but continue through until the end of the excerpt. Stopping at the point of a mistake tells the brain that it is ok to make that mistake. Categorize the excerpts into three different groups based on how much work they need. Play for other people, and simulate the conditions of an actual audition.
  • Mental Preparation: Use positive self talk, and personify your negative side – this makes it easier to get rid of him or her. [My note: some people even have a separate chair for their negative, judgmental selves in the practice room. Thus, one can more easily tell this aspect of your personality to be quiet and get out of your way.]
  • Use affirmation cards. Write short, positive sentences saying what you want to accomplish in the present tense form. Say the phrase(s) ten times in the mirror morning and night. The law of accommodation is stronger than the law of reality.
  • Mental training and visualization are incredibly important.

These ideas have helped me quite a bit in auditions, and in preparing for other performances. However, this is just the tip of the iceberg. For some more resources on auditioning, check out the online index to The Horn Call: Journal of the International Horn Society, and search by subject for “auditions.”  Other useful publications include The Inner Game of Tennis, by W. Timothy Gallwey, Audition Success, by Don Greene, and Horn Playing from the Inside Out, by Eli Epstein.

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