5 Tips for Handling Procrastination

Posted on February 14, 2017 by maestrobeats

If you’re like me, your days are full of blank calendar space but long to-do lists. I essentially run a small business, and while I have partners such as a manager and publicist, there’s plenty of busy-work to fill each and every day. Problem is, since I’m not at an office with coworkers, I have to be a manager to myself, as my only full time employee! Given the lack of structure around my time, I’ve tried to implement various kinds of self-imposed schedules, but it’s tough with the randomness of traveling and performing.

Being someone who is naturally prone to procrastination, it’s a subject I’m become far more familiar with than I’d like. However, this has given me a few helpful go-to habits that might be useful for your own challenges of prioritization. Whether you’re a self-employed musician, or a full-time job holder with the tendency to put things off, perhaps these can help you get your day going as well.

1) Change your space.
A lot of times I find myself easily distracted by the things that surround me. One of my favorite ways to procrastinate is to reorganize my space so it feels “just right”. Of course, once I finish doing that, I have to enjoy the fresh feeling for a while. Then, there are the habits that are triggered by seeing my laptop and the couch, the books on my shelves, the light-fixture project that hasn’t been finished yet… you get the picture. While on a normal day, any of these things can be a good and necessary task, when the mood of procrastination sets in they become obstructions to the prioritization of whatever I’m avoiding. So, moving to another room, especially a pretty empty one, is helpful. Our bedroom doesn’t have bookshelves and usually is devoid of electronic devices, so dragging my chair in there is often a great way to kick-start whatever practicing I can’t seem to do in the living room. If you’re lucky enough to have a studio, keep it optimized for focus! Hotel rooms, oddly enough, often do the trick for me as well. I stopped watching “real” tv long ago, so a hotel room is a simple space with no distractions other than what I bring in my bag. Whatever it is for you – a change of scenery can often help shift your mindset as well.

2) Start with the big things, in small chunks.
Maybe you find yourself, as I do, procrastinating by doing all of the little things that are also necessary. Perhaps there’s a big piece you need to learn, but it looks complicated, so practicing more familiar rep over and over again gives just enough of a sense of accomplishment to reward that need for productivity, without having to tackle the “big deal”. Same can be true of starting a new composition, or really any task that seems monolithic before it’s broken down. And that, right there, can be the key: break it down. Don’t try to learn the piece all at once, let yourself read through it, go on to something else, and then make a schedule that divides the learning process into chunks. Almost every project or task is made up of smaller elements, and if you find yourself feeling anxiety when thinking about the totality of a project, zooming in on the individual elements can be a good way to get yourself started.

3) Start with the little things.
Sometimes getting started can be more effective if you approach it in a subtly different way – if you are being super hard on yourself, thinking things like “I’ll never amount to anything if I don’t get this done today”, or “I’m just a lazy bum”, then you might do better starting with the low hanging fruit. Example: emails! Sometimes I’ll set a timer for 30 minutes, and clear all browser windows except Gmail so that I can start to clear up the inbox. This is more of a rolling start – as each success happens, mark it and look for something slightly bigger until you’re replying to that one email that requires research for a thoughtful reply. The timer is important here, once it goes off, give yourself a moment to enjoy the small win, then head over to your schedule or whatever you use to manage your time, and plot out the bigger immediate goals. I also think it’s important to schedule time for scheduling! This lets you check in on your progress and adjust for the best results.

4) Schedule your play time.
I think there’s a little kid somewhere inside of me that’s always concerned I’m working too hard. What if I never get around to the “fun” stuff? Sometimes setting aside time in my schedule for relaxing, hanging out, or even watching a movie will assuage those subconscious worries and help me stay focused. It may even be that those moments of play are a good goal to look forward to, a motivating force to help push through the To Do’s. Breaks of any kind help – usually when I practice or compose I make myself stop for ten minutes every hour. No matter what I end up doing, it gives the brain a rest and allows me to refocus in a more powerful way upon returning to the work.

5) Buddy up
Accountability is a powerful thing. Being near other people who are working hard has always gone a long way towards inspiring me to stay focused, as well. This is not always easy, or possible, with the self-composed work life. However, having a friend – even at a distance – to check in with and report to can be a big help. Someone who won’t let you make lame excuses, but understands the challenges of what you do as well. It’s not necessary that the people around you be musicians, artists, or anything similar, really. Work buddies are about creating a sense of responsibility that goes beyond your inner voice.

These are just some of the tricks I use to get moving again. There are many useful books and tools out there – and some might even say procrastinating is not always the worst thing to do. Of course, even when it’s useful, there is a limit. Here are a couple of videos from TED with different perspectives on procrastination. Share your own favorite tips and tools below – I’m always looking for more ways to be effective with my time!

Four Tips for Classical Musicians Beginning Improv (I wrote this on the fly)

Posted on November 2, 2016 by maestrobeats

by Joshua Roman
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If you’re a classically trained musician, chances are you can play a number of complex pieces on demand, by memory, you can look at a piece of music you’ve never seen before and decipher the symbols on the page in real time (sight reading), or at least you can rather quickly learn a piece and bring it to performance level. Are you, however, comfortable playing along with music you like on the non-classical station? Can you sit in with your friends and make up a tune, a countermelody, or catch the bass line the first time around?

With the “classical” sensibility that has been cultivated over the last century, the latter set of skills may sound superfluous. Crack open that history book, though, and you’ll see that improv has been integral to musicianship for centuries. Bach, Mozart, Beethoven, Brahms, Chopin, Liszt (name pretty much any musician from before the 20th century) – they all knew how to improvise. Their level of improv was fairly high, in some cases arguably the main reason for their original fame. While that’s an intimidating standard, I’ve come to realize that the benefits of even a basic level of improv comfort are tremendous.

The most difficult part of improv for someone who is used to preparing for hours, days, weeks before letting anyone hear a piece of music, is letting go of that control. The fear of playing something wrong is important to overcome, but I’ve discovered a few helpful mantras/tools:

1. Don’t compare your improv to the music you usually play.
If you spend most of your time playing the music of the greats, you might have totally unrealistic expectations. Those sounds were organized by veritable masters, and have proven the test of time. That’s not necessary for improv purposes! Simple, easy, accessible, creative, and above all, YOU, is what’s important here.

2. Start small.
I mean this in every way possible. Start in a room where no one can hear you, if you need to! Sometimes it’s useful to just play one note over and over again (an ostinato) until you get tired of it and naturally move on. Or, put on a song you listen to all the time, figure out the melody or the bass line, and then gradually begin to find other notes in between. Sometimes I even like to hold one note through a chord pattern, and feel the tension modulate as the chords underneath shift.

3. Allow yourself repetition.
When I was ten or eleven, my dad started having me play with his band on Sunday nights at church. I’ll never forget his reply when I asked about the sheet music – he said “you’ll figure it out. If you don’t like the note you’re playing, play a different one.” Kind of to the contrary, he also said “if you play a ‘wrong’ note, play it until you make it the ‘right’ note.” Basically, if you do something that doesn’t quite fit, you can incorporate the “mistake” into your next phrase, thereby “fixing” the mistake retroactively by use of repetition. So much of music is about how we play with expectations – so a keen awareness of patterns can take us into super cool and new places, and help us let go of the fear of “messing up” in improv.

4. Do your thing.
The most beautiful thing about improv is that it comes from you. It can begin to reflect your own unique voice – your sense of style and the elements of music that are most important to you. Find yourself listening to Lady Gaga when you’re not practicing excerpts? Great place to start! Simple chord patterns, a consistent beat, tunes you can pick up easily. Love the structure of techno with its beat drops and long arcs? That’s a fun way to learn to read what’s coming next. Want to get inside the mind of Dvorak and his Cello Concerto? Take the main theme and riff on it – how would you develop the material differently? One of my favorite things to do in school was to turn out the lights in a practice room and just start “following the sound.” Sometimes melodic, sometimes strange and wonderful fragments, sometimes just a rhythm would emerge. Letting go of expectations is key.

Photo Credit: Bret Hartman

The benefits of learning to improv become apparent very quickly. First off, it opens up so many collaborative possibilities! It also gives you a very powerful entry point into any composer’s music. When you start to see all of the choices the composer did not make, the choices they did make paint a stronger picture. One of the more amusing results of becoming comfortable with improv is less fear of memory slips. I say “amusing” as I think of the times I’ve heard myself and others wander off script, and the hilarious (and therefore less awkward) paths back to the written score. Perhaps most importantly, as this skill develops, it gives you insight into your own artistic voice. When all the musical choices are yours, your priorities emerge much more clearly. This process of self-discovery is absolutely essential in order to cultivate an understanding of what you offer to your listeners and colleagues.

In my own musical life, improv has gone far beyond those beginning days of an added cello line to the band. I improvise all of my cadenzas when I perform Haydn Concertos, I’ve improvised entire pieces on stages including the TED stage, and collaborations with artists such as Anna Deavere Smith, DJ Spooky, Anne Patterson, We Are Golden (“Just Every Fisher’s Folly” and “Allen in February and March”), Mason Bates, have all come about because of comfort making notes up on the spot. And I’m not even very good at it, just willing!

Let’s hear what you’ve got. Share your stories, through improv video or otherwise.

Goals for 2016

Posted on January 15, 2016 by maestrobeats

(“In which a Roman quotes a Greek”)

by Joshua Roman

So, after all of the drama of 2015, what’s in store this year?

The number one thing that’s now set and will help in my quest for a focused year is: a place to call home. After almost eight years in NYC (and a few months in Jersey), I’m now living in a small one bedroom in Chelsea. It’s ideal for getting around town, close to all kinds of subway stops, and walking distance from many of my usual hangs. It’s only 20 minutes to visit my sister and her family, and there are great grocery stores about a block away in every direction. Last night I was able to get to Carnegie Hall to see the Philadelphia Orchestra in about 15 minutes.

View out my window… The Metlife clock tower

This is the reason to be in NYC! Especially for someone who’s gone a lot, it’s hard to justify the rent if you’re not taking advantage of the many wonderful goings on. There are so many wonderful people doing exciting things, and this year one of my top priorities will be feeling grounded in the cultural life of this city. Reconnecting with friends I haven’t seen while on the road can be difficult, but I have renewed hope and energy now that I’m in a central location.

Everything else this year flows from that, the physical settling that I can now begin. I still travel a lot, but another goal is to develop a sense of routine. Of course, my idea of routine might be very different from someone else’s – mine revolves around performance dates, writing deadlines, and flight departures. But it’s still an important concept, especially at a time when there are many balls in the air that need to be managed with careful attention.

Some of the results I hope to achieve:

Feeling ahead of the practicing game, enough so that I can do extra projects like Everyday Bach with regularity.

Polishing my existing compositions to satisfaction.
Getting ahead with the projects I’m working on. Examples: this blog, concerts at Town Hall Seattle, other programming.
Engaging more with my communities, especially my music friends and TED friends, so that the relationships I care about most are well tended.
Finding ways to integrate the issues I’m most passionate about into what I do when appropriate. Some of this needs to happen regularly, like continuing to expand diversity in my music making, both in terms of performing partners and in the music itself. Some of it is a little trickier to pin down: how does one do anything to promote campaign finance reform? Some of it is related to relationships with organizations like Street Symphony in Los Angeles, and will happen project by project over time.
More performance opportunities.

The balance of fresh and routine is always important. Last year was fresh-heavy, but this year it’ll be fun to find ways to develop routines without closing the door to great opportunities. You never know what’s coming your way, on the street, or when you glance at your inbox, or even sometimes on stage! I welcome any tips on time management, especially from those who are juggling similarly diverse projects. By March, I hope to be far enough ahead to watch one movie without feeling guilty.

To close today’s thoughts, I want to talk about the zone. We’ve all felt it, I hope. I get the feeling a lot on stage, but it can happen other places as well. There’s a zone when exercising, there’s one for reading (easy to get into), there’s one for writing, and for cooking, etc. There are also zones that are shared, when there’s a mutual connection in chamber music, for example. Or, if you’re lucky, sex.

I’m a zone junkie, and if there’s one thing I’ve learned, it’s that SOME kind of routine or trigger, whether conscious or not, is very important in getting into that creative or performative zone. We create the habits we live by – I think it was Aristotle that said “We are what we repeatedly do. Excellence, then, is not an act, but a habit.” If you’re interested in digging into the zone, I recommend this book which I read more than a decade ago. It resonated with a lot of what I felt to be true but was unable to articulate at the time: The Inner Game of Tennis.

So, 2016’s broad goals: Openness by way of focus and maintenance.

Methods of achieving this: Routine, buffer time, and management of distractions.

We’ll get into some details of the various manifestations of these practices later. For now, I leave you with a playlist and some encouragement to stake your claim on your time, and go for whatever it is you’ve been holding back on.

The Westerlies: Wish The Children Would Come On Home (SI’s Album Review)
Third Coast Percussion: The Works For Percussion 2
Jeff Buckley: Grace