In November and December 2005, Dr. Daniel Pénoël (a French medical doctor picture left), visited Perth, Melbourne and Sydney for a series of workshops on “Aromatic medicine”. I was fortunate enough to attend his Sydney seminar, along with 150 other aromatherapists, health care professionals, and keen essential oil users. His 2 and a half day seminar was an amazing introduction to the French school of aromatherapy. In this bulletin, I want to share with you some of the highlights from Dr. Pénoël's seminar.
In the world of aromatherapy, there are 3 schools of thought. The first is the British school, which teaches the dilution of essential oils, and its application –often through massage – for relaxation and balancing. The majority of Australian aromatherapists are trained in the British system. Secondly there is the German school, which relies on the aroma of the oils, rather than direct application. And thirdly, there is the French school, which treats essential oils as a valid form of medicine, to be used as in any other medical protocol – internally, by injection, topically (undiluted), rectally, and vaginally. As Dr. Pénoël said, “In my country, we've given millions and millions of clinical treatments with essential oils.” It is from this medical application of essential oils that the term “Aromatic Medicine” was derived.
Dr. Pénoël described the differences between the 3 schools very humorously, when he said: “The German system of aromatherapy (smell) is comparable to platonic love. You cannot make babies with platonic love. The English system is like flirting. You still cannot make babies. The French system of aromatherapy is like “The Full Monty”, and it will make babies!”
In France, Doctors trained in aromatic medicine will often prescribe essential oils in preference to antibiotics. But first, they will conduct an “aromatogram”. This is a simple test involving taking a sample (e.g.. a swab) of a patient's diseased area. This swab is sent away to a laboratory, and tested with a wide variety of essential oils and allopathic drugs, to see which is the most effective against the specific disease or condition.
There are many cases where essential oils are more effective than antibiotics. However, in the case where an antibiotic proves more effective, the doctor still needs to weigh up the potential side-effects of the antibiotic (such as its long-term effects on gut flora), before deciding which treatment should be undertaken.
If essential oils are the chosen treatment, the doctor will supply the patient with essential oils, and instructions on where and how to use them, and in what proportions to mix them up. This means that patients are more involved in preparing their own mixtures and remedies than in traditional allopathic medicine.
It was fascinating to hear Dr. Pénoël's strategy for fighting an infection using essential oils. He begins with a mix of oils where the “stronger” oils are in higher concentration. The “stronger” oils are those with higher percentages of phenols (such as Oregano). These phenols are very aggressive against many infections (viral and bacterial). However, because of the potential irritation that the phenols can pose to the stomach and intestines, after a week's use, Dr. Pénoël then “ramps down” the proportion of oils containing phenols, and increases the proportion of other less-irritating oils.
He explained that he may start with a mix of 70% Oregano and 30% Melaleuca alternifolia (Tea Tree oil), and after a week move to 30% Oregano and 70% Melaleuca alternifolia (and continue on this mix for another couple of weeks). In his use of essential oils internally, Dr. Pénoël always includes a vegetable oil along with the essential oil in a gel cap, because the vegetable oil helps to transport the essential oil into the intestinal tract.
Another example given by Dr. Pénoël was how he works with tonsillitis, using the molecule Terpinen-4-ol, which is present at about 40% concentration in Melaleuca alternifolia. Dr. Pénoël demonstrated how he puts a tiny bit of high-quality, unadulterated Tea Tree oil on his hand (on a point between the thumb and 2nd finger on top of hand, which is a special acupuncture point), and then he licks the oil off.
“I now have millions of billions of molecules of terpenen-4-ol which have been blended in my saliva. I bring my saliva back to my tonsils……[and I have] changed the breeding ground of the medium which exists in my throat at this infectious stage. You have changed the pH of your saliva.” He went on to explain that this makes the saliva more acidic, which inhibits the growth of the infection.
Dr. Pénoël then described how he will swallow the Tea tree oil at this point, so that it will reach his stomach, small and large intestine to become an “aromatic healing saliva”. He stated that in addition to this indirect action, the Tea tree oil also has a direct action because “the terpenen-4-ol in the Tea Tree oil also attacks the bacteria itself. It penetrates through the cell wall and membrane, into the cell wall, and destroys the bacteria.”
One of the most interesting things I learned from Dr. Pénoël's seminar was about frequency of application. He shared that when one of his patients is fighting an infection, he instructs them to take a smaller amount of essential oil more often, so that the molecules are consistently in their blood stream. For example, in a simple case of tonsillitis he instructs his patients to lick the Tea Tree oil from their hand every minute for 5 minutes, then every 5 minutes for 15 minutes.
Peppermint Essential Oil
Dr. Pénoël was discussing important oils for a first aid (emergency) kit, when he said: “The #1 problem we face in our daily life in emergencies is pain. We want to find a molecule which is endowed with the capacity to stop the pain, instantly. One molecule which can achieve this is menthol (contained in Peppermint essential oil)…..So in your emergency kit, use Mentha piperita (Peppermint).
But don't use peppermint on a large area of the body. It's OK to use on a small area of the body. It must be used neat, exactly as it's been extracted from the plant. Use just a few drops neat, and the pain will go away almost immediately. This is because peppermint has a cooling action, so it blocks/inhibits the pain transmitters….[After applying Peppermint oil], you will suddenly feel the cold more. This means that although the outside temperature may be warm, your body feels as though it's had ice placed on it (so it has a similar effect to putting ice on pain)."
Natural Home Health Care with Essential Oils by Dr. Pènoël
Dr. Pènoël is a native French man and as a Medical Doctor, he uses essential oils in the treatment of his patients. He advises his patients to take essential oils internally, against all the advise of the English school of aromatherapy. The results speak for themselves. In this marvelous volume, Dr. Pènoël demonstrates just how you can use Essential oils as a drug free alternative for health. What distinguishes the oils that Dr. Pènoël uses is that they are therapeutic grade essential oils and the majority are organically grown.
Dr. Pènoël spent sometime with his wife Rose-Marie, in a medical practice in Adelaide, South Australia. Here he met Abby who had been suffering from chronically blocked sinuses for many years. As these things go, Abby was due for an operation, the final resort, to alleviate the problem when she met Dr. Pènoël.
Given just two weeks to turn Abby's condition around, Dr. Pènoël launched on an intensive aromatic care program. This involved essential oils, of course, but demanded the dedication and co-operation of his patient, Abby and her parents.
Needless to say Abby was much improved and the surgery was cancelled. The book has photographs of Abby and reproductions of her X-rays before and after her treatment with Dr. Pènoël. You can judge for yourself the effectiveness of his protocol.
Dr. Pènoël goes on to give recipes and protocols for some common ailments. Since all circumstances are unique, we suggest using common sense when integrating any new health system and especially essential oils.
For anyone seeking a drug free alternative to mainstream medicine, this book is an excellent place to start. At times the English is a little stilted but this does not detract from the wealth of information it contains.
With oil, Noel Cunnington
Wednesday, November 29, 2006
Saturday, November 25, 2006
ADD and Relationships; 5 Tips for Success!
Attention Deficit Disorder and Attention Deficit Hyperactivity Disorder, characterized by significant difficulties with functioning in areas such as impulse control and motivation, is becoming a much more common diagnosis in adults in recent years. Research suggests that children who have ADD and ADHD do not simply "outgrow" the disorder, but rather become adults who may learn to control or hide their difficulties, in their work and personal lives. Relationships are never perfect, nor are they necessarily easy, and adults with ADD and ADHD often have additional challenges that, if not addressed, may lead to the proverbial relationship revolving door. Despite the difficulties, individuals with ADD and ADHD can and certainly do succeed in relationships. Here are some key points that may help increase your chances of success:
Work on YOU first
I tell clients time and again, finding a relationship isn't hard, but finding a healthy one that fits your needs (and theirs) is impossible unless you have solid knowledge of yourself. One of the most common problems in relationships is the feeling that once you find someone, the relationship should become all-encompassing. There are two glaring problems with this logic. First, people pick up on insecurity pretty quickly and that is at the core of much-too-fast relationships in which one person feels smothered while the other feels so insecure that they are literally afraid to acknowledge their own needs. Second, when someone ignores their needs for the (perceived) sake of a beloved, they end up harboring resentment towards the other person. These are characteristic of toxic relationships that are doomed, simply because someone isn't being themselves. If you can't enjoy the pleasure of your own company, you will create realistic expectations that someone else will have to be the source of that pleasure. Choosing to be single is hard, but if you're fresh out of a relationship, it may be the best time to enjoy your hobbies, interests, learn a new craft, or start an exercise program. The more comfortable you become with your own company and being single, the less you will feel compelled to seek out a relationship when you aren't ready.
Boredom in a relationship is NORMAL!
Sure, we'd all love to maintain that euphoric rush that is characteristic of a new relationship, who wouldn't? We are attracted to that feeling, which is a result of stimulation of our emotional and chemical systems. That feeling, however, is a direct result of novelty; as our minds and bodies work to assimilate the new information into our existing schemas. We can' reinvent novelty, and we can't force ourselves to believe a relationship is new when we've been together for some time. Think about this though, we can't make that cognitive change in ourselves when we become familiar with any aspect of our lives, including jobs, hobbies, and friends. What then, can we do to reignite a spark in a relationship; thereby lessening the chances that we will impulsively seek out that initial euphoria, perhaps in ways that are not healthy? One thing that seems to be extraordinarily effective, time and again, is to create change within the relationship itself. This reinvention of the fundamentals can often strengthen the bond within the relationship and can provide enough novelty to make you both feel like you've met for the first time again.
Take responsibility
Relationships are a two way street, both individuals involved are just that: individuals. In the context of a relationship, two people are growing together in an evolutionary process of figuring out what feels best for each of us. At times, understandibly, we expect someone to whom we feel extraordinarily close to understand us, to realize that if we feel overwhelmed in our lives or work, we may choose behaviors that may hurt someone else. In these cases, we are choosing to act out our feelings on someone else who, in reality, can't solve the problem. Individuals who have ADD/ADHD may lash out impulsively, may choose to indulge their immediate need for self-gratification, and may choose to blame the very people closest to them. This is an easier risk, since the people who love us the most are perceived to be the least likely to judge us or our behaviors harshly. They love us after all, right? Unfortunately, this behavior is an easy way to defer one's own responsibility for choices they've made. Even after the fact, often under the guise of superficial guilt, we may continue to rely on the fact that we have ADD/ADHD as a means of explaining away what we've done. In many cases, once we've filed bad behavior into the ADD/ADHD folder, we feel that we've done enough so that when the impulse returns, we give in yet again. Keep in mind that patterns of behavior are just that, patterns and we all have the ability to identify them and realize when the temptation comes around again. Taking responsibility means making fundamental changes in our behavior that directly impact the pattern in a positive way. By doing so, we not only accept what we've done, but we learn from it and decrease the likelihood that we will resort to it again.
Make a real committment
Individuals who have ADD/ADHD have a wonderful ability to impart all their abundant energy to focusing on something. At the same time, we also seem to have a bit of difficulty when it comes to taking that step from being an active partner in a new relationship to being equally active once its clear that the relationship is moving forward. This tendency may be a result of earlier problems in connecting with others on deeper levels, it may be a sensitivity to rejection or it may also be a genuine fear of underachieving. It is important in any relationship to realize that both parties are new to the relationship, and are therefore at the same level of novelty. Most likely, both parties are also experiencing some level of fear along with the wonderful emotional fulfillment that grows deeper as the relationship progresses. If one person in a relationship puts on the brakes, out of fear, the relationship also stalls. Taking things slow is healthy, and helps each of us grow at a pace that fits our level of comfort, but there is also something to be said for walking into the face of fear. The one thing to ask oneself in cases of hesitation of commottment is "what is it that is stopping me from putting my personal 100% into this relationship?". The answer to that is a great way to gauge where the problems may lie. If we are experiencing something that upsets or bothers us, a deeper level of committment may be encouraged by discussing one's concerns openly, either with the other individual in the relationship or with a professional.
Change your perceptions
Taking charge of your life means making an effort to listen to what we say and considering what we think. With boredom often comes the lens of negativity and without thinking, we resort to making negative attributions. Its an easy habit to fall into, mainly because its a way for us to perpetuate our belief that things aren't going well in our lives. Its our unconscious way of saying "see, this isn't going right, this is proof that something is wrong". As I mentioned earlier, our partners/spouses are often the target of our frustrations, and also the target of our negative attributions. This behavior takes the blame (and the responsibility) off of us and places it on an external source. Getting rid of or rejecting the source is easier than doing the hard work it takes to solve the issue, but time and again, we'll find ourselves back in a similar situation because we haven't ever faced the real problem. I'm a big believer in seeing the positive side of things and people, even if we initially don't do so. One of the easiest things to do initially is to force ourselves to create a positive thought or comment and consciously add it to whatever negative thought or comment we produce. This takes some work, we often aren't aware that we've fallen into the negative zone. Over time, however, we can become more aware of what we think and say, how they effect the way we feel and also the effect they have on others. No one wants to stick around that person who continually points out the bad stuff, it brings us down. Positive people are infectious, very attractive, confident and fun to be around. Even if their lives aren't perfect, they will tell you whats great about the world. Positive perceptions change our lives in ways we can only begin to imagine. Give it a try!
Work on YOU first
I tell clients time and again, finding a relationship isn't hard, but finding a healthy one that fits your needs (and theirs) is impossible unless you have solid knowledge of yourself. One of the most common problems in relationships is the feeling that once you find someone, the relationship should become all-encompassing. There are two glaring problems with this logic. First, people pick up on insecurity pretty quickly and that is at the core of much-too-fast relationships in which one person feels smothered while the other feels so insecure that they are literally afraid to acknowledge their own needs. Second, when someone ignores their needs for the (perceived) sake of a beloved, they end up harboring resentment towards the other person. These are characteristic of toxic relationships that are doomed, simply because someone isn't being themselves. If you can't enjoy the pleasure of your own company, you will create realistic expectations that someone else will have to be the source of that pleasure. Choosing to be single is hard, but if you're fresh out of a relationship, it may be the best time to enjoy your hobbies, interests, learn a new craft, or start an exercise program. The more comfortable you become with your own company and being single, the less you will feel compelled to seek out a relationship when you aren't ready.
Boredom in a relationship is NORMAL!
Sure, we'd all love to maintain that euphoric rush that is characteristic of a new relationship, who wouldn't? We are attracted to that feeling, which is a result of stimulation of our emotional and chemical systems. That feeling, however, is a direct result of novelty; as our minds and bodies work to assimilate the new information into our existing schemas. We can' reinvent novelty, and we can't force ourselves to believe a relationship is new when we've been together for some time. Think about this though, we can't make that cognitive change in ourselves when we become familiar with any aspect of our lives, including jobs, hobbies, and friends. What then, can we do to reignite a spark in a relationship; thereby lessening the chances that we will impulsively seek out that initial euphoria, perhaps in ways that are not healthy? One thing that seems to be extraordinarily effective, time and again, is to create change within the relationship itself. This reinvention of the fundamentals can often strengthen the bond within the relationship and can provide enough novelty to make you both feel like you've met for the first time again.
Take responsibility
Relationships are a two way street, both individuals involved are just that: individuals. In the context of a relationship, two people are growing together in an evolutionary process of figuring out what feels best for each of us. At times, understandibly, we expect someone to whom we feel extraordinarily close to understand us, to realize that if we feel overwhelmed in our lives or work, we may choose behaviors that may hurt someone else. In these cases, we are choosing to act out our feelings on someone else who, in reality, can't solve the problem. Individuals who have ADD/ADHD may lash out impulsively, may choose to indulge their immediate need for self-gratification, and may choose to blame the very people closest to them. This is an easier risk, since the people who love us the most are perceived to be the least likely to judge us or our behaviors harshly. They love us after all, right? Unfortunately, this behavior is an easy way to defer one's own responsibility for choices they've made. Even after the fact, often under the guise of superficial guilt, we may continue to rely on the fact that we have ADD/ADHD as a means of explaining away what we've done. In many cases, once we've filed bad behavior into the ADD/ADHD folder, we feel that we've done enough so that when the impulse returns, we give in yet again. Keep in mind that patterns of behavior are just that, patterns and we all have the ability to identify them and realize when the temptation comes around again. Taking responsibility means making fundamental changes in our behavior that directly impact the pattern in a positive way. By doing so, we not only accept what we've done, but we learn from it and decrease the likelihood that we will resort to it again.
Make a real committment
Individuals who have ADD/ADHD have a wonderful ability to impart all their abundant energy to focusing on something. At the same time, we also seem to have a bit of difficulty when it comes to taking that step from being an active partner in a new relationship to being equally active once its clear that the relationship is moving forward. This tendency may be a result of earlier problems in connecting with others on deeper levels, it may be a sensitivity to rejection or it may also be a genuine fear of underachieving. It is important in any relationship to realize that both parties are new to the relationship, and are therefore at the same level of novelty. Most likely, both parties are also experiencing some level of fear along with the wonderful emotional fulfillment that grows deeper as the relationship progresses. If one person in a relationship puts on the brakes, out of fear, the relationship also stalls. Taking things slow is healthy, and helps each of us grow at a pace that fits our level of comfort, but there is also something to be said for walking into the face of fear. The one thing to ask oneself in cases of hesitation of commottment is "what is it that is stopping me from putting my personal 100% into this relationship?". The answer to that is a great way to gauge where the problems may lie. If we are experiencing something that upsets or bothers us, a deeper level of committment may be encouraged by discussing one's concerns openly, either with the other individual in the relationship or with a professional.
Change your perceptions
Taking charge of your life means making an effort to listen to what we say and considering what we think. With boredom often comes the lens of negativity and without thinking, we resort to making negative attributions. Its an easy habit to fall into, mainly because its a way for us to perpetuate our belief that things aren't going well in our lives. Its our unconscious way of saying "see, this isn't going right, this is proof that something is wrong". As I mentioned earlier, our partners/spouses are often the target of our frustrations, and also the target of our negative attributions. This behavior takes the blame (and the responsibility) off of us and places it on an external source. Getting rid of or rejecting the source is easier than doing the hard work it takes to solve the issue, but time and again, we'll find ourselves back in a similar situation because we haven't ever faced the real problem. I'm a big believer in seeing the positive side of things and people, even if we initially don't do so. One of the easiest things to do initially is to force ourselves to create a positive thought or comment and consciously add it to whatever negative thought or comment we produce. This takes some work, we often aren't aware that we've fallen into the negative zone. Over time, however, we can become more aware of what we think and say, how they effect the way we feel and also the effect they have on others. No one wants to stick around that person who continually points out the bad stuff, it brings us down. Positive people are infectious, very attractive, confident and fun to be around. Even if their lives aren't perfect, they will tell you whats great about the world. Positive perceptions change our lives in ways we can only begin to imagine. Give it a try!
Friday, November 24, 2006
How to Lose Weight?
For those of us who lead busy lives losing weight can seem difficult to achieve. Health advisors suggest that a sensible way to lose weight is to increase the amount of daily exercise. In their publication, The Step Diet, Hill et al. suggest that over 2000 steps a day will significantly contribute to a reduction in weight. (Hill et al., 2004: 2). This is a useful method as it is doesn't cost anything and can be incorporated into your daily routine. Diet pills and regimes are not advisable as they can precipitate dramatic weight loss, which can cause you more problems - such as skin problems and hair loss. In the worst case scenario they can cause you to gain weight - as any sudden change in the metabolic rate can mean that when you start eating normally again you pile back on the pounds.
If exercise alone is difficult then a balanced regime of exercise and reduced calorie intake - bearing in mind the maxim ‘little and often' - is a good way to approach losing weight. It is generally believed that eating three smaller regular meals, with morning and afternoon snacks in between, is the best way to lose weight. Regular eating maintains a balanced sugar level in the blood, preventing hunger and helps us to avoid overeating. This has the effect of speeding up the metabolic rate so your body breaks food down more quickly to turn it into energy. "Ideally, eat something small (even a piece of fruit) every 3 hours (women) or every 5 hours (men)" (Collins, 2005). Another timeless way to lose weight - and one that will save you money - is to increase your daily intake of water. This is important as dehydration can mean that you don't reap the full benefits of your efforts to lose weight.
Enough water is considered to be at least two litres a day (Biggs, 2006). If you don‘t drink enough then your metabolism will shut down first causing your weight loss to slow right down; your digestion will suffer; and you might experience ‘fake hunger' symptoms (Biggs 2006) . It is important to remember that some people lose weight more easily than others because of their body's ability to burn fat. One of the most effective ways to burn fat is through cardio-vascular exercise which increases the heart rate sufficiently - for example, aerobics or running. This form of exercise is more effective than, say for example, weight lifting or light walking, which are good muscle-toning activities helping to reduce the appearance of fat. However, if you simply don't have time to go to an aerobics class or the space in your own home, then other forms of exercise are still effective. Jon Shepherd, from Ultra-FIT magazine, explains: "You won't burn so many calories weight training, but the potential effect it will have on your body composition and metabolic rate are significant. Muscle is the most metabolically active part of your body, burning up to three times as many calories as any other tissue type. Weights (and other forms of resistance training, like circuits) promote the development of lean muscle, boosting your fat burning potential" Source: (http://www.concept2.co.uk/weightloss/chewing_the_fat.php#2)
Fitness activities and calorie burning
Activity calories/hour Aerobics high intensity 520 Rowing – slow 400 Weight training 270-450 Swimming for fitness 630 Treadmill running (3.8min/km) 1000 Treadmill running (5.6 min/km) 750 Source: (http://www.concept2.co.uk/weightloss/chewing_the_fat.php#2)
The above figures are based on a 65kg individual. If you weighed more then additional calories will be expended, fewer if you weigh less. The table illustrates the differences in calorie reduction between various activities. It is important to find the right kind of exercise to suit you. For most people, walking is the easiest and most effective form of exercise. Ann Bolger, M.D., a spokeswoman for the American Heart Association (AHA) says, ‘exercising is like taking the pennies from under the couch cushions and putting them into your piggybank,' in that every little bit counts.' (Meadows 2003: 18). There are many small ways of increasing the amount of walking in your day. For example, if you have a dog, or someone in your family or a friend has a dog, then try to find the time each day to take it for a brisk half-hour walk. If you're lucky to live a mile or so away from work then get up a bit earlier and walk instead of catching the bus. Even parking a bit further away when you go shopping can make a difference.
So this is all about what to do outside the home. But what about when you come back from a day at work and you want to relax? You can contribute to your efforts to lose weight by the way you cook: using unsaturated vegetable oils, and oils such as corn, olive, or soyabean makes a significant difference to your fat intake. Snacks too can be swapped for healthier, lower fat options such as sesame snaps; Ryvita, or a piece of fruit. (Meadows 2003: 18). Many of us like to relax with a glass of wine in front of the TV - but there are other more weight-loss-effective ways of relaxation. Try substituting your daily glass of wine (110 calories) or half bottle (250 calories) for a session of meditative yoga. In this way you can reduce calorie intake, and exercise and relax all at the same time, and it doesn't cost you a penny. "Yoga also offers psychological benefits. As Baxter Bell, a graduate of Piedmont Yoga Studio's Advanced Studies Program, says: Weight gain often brings with it a great deal of harsh self-judgment. Through yoga, we can counteract this by creating a safe, positive environment to reconnect with our bodies and quiet the counterproductive messages that often arise in our minds. (http://www.yogajournal.com).
If the traditional more-exercise-less-calories method doesn't work then look into alternative ways to lose weight. There are little exercises and tips that can take all of 15 minutes of your day - such as the ancient Chinese system of exercise called Chi Kung. A specific series of movements called the Swimming Dragon is renowned for its effectiveness in helping to lose weight. Through a series of simple movements, the Swimming Dragon works to stimulate the correct flow of chi, or vital energy, through the meridians (energy pathways) of the body. The exercise massages all the internal organs and helps to normalise hormone secretions. By practising the exercise for 15 minutes once or twice a day, it is claimed that your body will begin to naturally break down unwanted fatty tissue. (Alexander, J, 1996: 31)
Lastly, weight loss is something to be achieved over time: take it a step at a time and don't expect too much. Most importantly, losing weight should be something that fits comfortably into the rest of your life and something that you enjoy.
If exercise alone is difficult then a balanced regime of exercise and reduced calorie intake - bearing in mind the maxim ‘little and often' - is a good way to approach losing weight. It is generally believed that eating three smaller regular meals, with morning and afternoon snacks in between, is the best way to lose weight. Regular eating maintains a balanced sugar level in the blood, preventing hunger and helps us to avoid overeating. This has the effect of speeding up the metabolic rate so your body breaks food down more quickly to turn it into energy. "Ideally, eat something small (even a piece of fruit) every 3 hours (women) or every 5 hours (men)" (Collins, 2005). Another timeless way to lose weight - and one that will save you money - is to increase your daily intake of water. This is important as dehydration can mean that you don't reap the full benefits of your efforts to lose weight.
Enough water is considered to be at least two litres a day (Biggs, 2006). If you don‘t drink enough then your metabolism will shut down first causing your weight loss to slow right down; your digestion will suffer; and you might experience ‘fake hunger' symptoms (Biggs 2006) . It is important to remember that some people lose weight more easily than others because of their body's ability to burn fat. One of the most effective ways to burn fat is through cardio-vascular exercise which increases the heart rate sufficiently - for example, aerobics or running. This form of exercise is more effective than, say for example, weight lifting or light walking, which are good muscle-toning activities helping to reduce the appearance of fat. However, if you simply don't have time to go to an aerobics class or the space in your own home, then other forms of exercise are still effective. Jon Shepherd, from Ultra-FIT magazine, explains: "You won't burn so many calories weight training, but the potential effect it will have on your body composition and metabolic rate are significant. Muscle is the most metabolically active part of your body, burning up to three times as many calories as any other tissue type. Weights (and other forms of resistance training, like circuits) promote the development of lean muscle, boosting your fat burning potential" Source: (http://www.concept2.co.uk/weightloss/chewing_the_fat.php#2)
Fitness activities and calorie burning
Activity calories/hour Aerobics high intensity 520 Rowing – slow 400 Weight training 270-450 Swimming for fitness 630 Treadmill running (3.8min/km) 1000 Treadmill running (5.6 min/km) 750 Source: (http://www.concept2.co.uk/weightloss/chewing_the_fat.php#2)
The above figures are based on a 65kg individual. If you weighed more then additional calories will be expended, fewer if you weigh less. The table illustrates the differences in calorie reduction between various activities. It is important to find the right kind of exercise to suit you. For most people, walking is the easiest and most effective form of exercise. Ann Bolger, M.D., a spokeswoman for the American Heart Association (AHA) says, ‘exercising is like taking the pennies from under the couch cushions and putting them into your piggybank,' in that every little bit counts.' (Meadows 2003: 18). There are many small ways of increasing the amount of walking in your day. For example, if you have a dog, or someone in your family or a friend has a dog, then try to find the time each day to take it for a brisk half-hour walk. If you're lucky to live a mile or so away from work then get up a bit earlier and walk instead of catching the bus. Even parking a bit further away when you go shopping can make a difference.
So this is all about what to do outside the home. But what about when you come back from a day at work and you want to relax? You can contribute to your efforts to lose weight by the way you cook: using unsaturated vegetable oils, and oils such as corn, olive, or soyabean makes a significant difference to your fat intake. Snacks too can be swapped for healthier, lower fat options such as sesame snaps; Ryvita, or a piece of fruit. (Meadows 2003: 18). Many of us like to relax with a glass of wine in front of the TV - but there are other more weight-loss-effective ways of relaxation. Try substituting your daily glass of wine (110 calories) or half bottle (250 calories) for a session of meditative yoga. In this way you can reduce calorie intake, and exercise and relax all at the same time, and it doesn't cost you a penny. "Yoga also offers psychological benefits. As Baxter Bell, a graduate of Piedmont Yoga Studio's Advanced Studies Program, says: Weight gain often brings with it a great deal of harsh self-judgment. Through yoga, we can counteract this by creating a safe, positive environment to reconnect with our bodies and quiet the counterproductive messages that often arise in our minds. (http://www.yogajournal.com).
If the traditional more-exercise-less-calories method doesn't work then look into alternative ways to lose weight. There are little exercises and tips that can take all of 15 minutes of your day - such as the ancient Chinese system of exercise called Chi Kung. A specific series of movements called the Swimming Dragon is renowned for its effectiveness in helping to lose weight. Through a series of simple movements, the Swimming Dragon works to stimulate the correct flow of chi, or vital energy, through the meridians (energy pathways) of the body. The exercise massages all the internal organs and helps to normalise hormone secretions. By practising the exercise for 15 minutes once or twice a day, it is claimed that your body will begin to naturally break down unwanted fatty tissue. (Alexander, J, 1996: 31)
Lastly, weight loss is something to be achieved over time: take it a step at a time and don't expect too much. Most importantly, losing weight should be something that fits comfortably into the rest of your life and something that you enjoy.
Thursday, November 23, 2006
Piano Restoration
Pianos are one of the loveliest instruments one can own, and make some of the most loyal companions. Pianos aren't to be taken lightly and you should care for them as you would any other expensive item. For pianos, care is especially important as the more you take care of them, the better they become.
Pianos, like some pets, are bought and loved, then slowly forgotten. They become dusty and out of tune, sitting and waiting until someone decides they want to play again fifteen years later. But what happened? It's out of tune, dirty and doesn't sound like it used to. Do you throw it away? You could, but there are better options, like piano restoration.
Piano restoration can make any old instrument come alive again and work as well or better than it once did. Imagine that gorgeous old baby grand, cleaned up and in tune, ready to be played again. A good piano technician can make your old piano sound better than it ever did, even when it was brand new.
Like any other instrument, pianos have limited lifespan. However, different parts on pianos also have different life spans, and this is one of the main reasons piano restoration can be so effective/ For example, on an instrument that saw heavy use over its life, the hammers might be worn while the soundboard could be alive and kicking, so to speak, for decades more.
Thus, having a piano technician look at your instrument every couple years and replace worn parts can eliminate the need for deeper, more intensive restoration later on. Though piano restoration is a very good thing, it should only be done on expensive pianos or on pianos with sentimental value, because it is also relatively expensive.
Its cost lies in the tediousness and the time involved in rebuilding or restoring a badly damaged or decrepit piano. For example, imagine a piano where some of the action parts, like the hammers, ribs and strings, are still in good condition, but the body is worn and cracked in areas, and the bridges are about to go out.
A good piano restorer could rebuild and replace the worn parts and tweak the okay parts so they are better than before. A good rule of thumb is that, when a piano technician assesses your piano and says repair, the cost will be mild to medium depending on the repair. Maintenance is in the same bracket, but restoration is a clue that it is getting more expensive, and rebuilding is even more intensive.
So while restoration can be an excellent venture if you love your piano immensely, if it holds sentimental or historical value or if it is valuable enough to justify the expense, don't do it if you have only lukewarm feelings about the piano and don't use it much. You will be better off selling your piano to a technician who will rebuild and resell it, and buying a newer one with part of the money from the sale.
David Anderson Pianos is a full-service piano business offering complete restoration and maintenance services for pianos in the Los Angeles area. For more information, please visit http://www.davidandersenpianos.com.
Pianos, like some pets, are bought and loved, then slowly forgotten. They become dusty and out of tune, sitting and waiting until someone decides they want to play again fifteen years later. But what happened? It's out of tune, dirty and doesn't sound like it used to. Do you throw it away? You could, but there are better options, like piano restoration.
Piano restoration can make any old instrument come alive again and work as well or better than it once did. Imagine that gorgeous old baby grand, cleaned up and in tune, ready to be played again. A good piano technician can make your old piano sound better than it ever did, even when it was brand new.
Like any other instrument, pianos have limited lifespan. However, different parts on pianos also have different life spans, and this is one of the main reasons piano restoration can be so effective/ For example, on an instrument that saw heavy use over its life, the hammers might be worn while the soundboard could be alive and kicking, so to speak, for decades more.
Thus, having a piano technician look at your instrument every couple years and replace worn parts can eliminate the need for deeper, more intensive restoration later on. Though piano restoration is a very good thing, it should only be done on expensive pianos or on pianos with sentimental value, because it is also relatively expensive.
Its cost lies in the tediousness and the time involved in rebuilding or restoring a badly damaged or decrepit piano. For example, imagine a piano where some of the action parts, like the hammers, ribs and strings, are still in good condition, but the body is worn and cracked in areas, and the bridges are about to go out.
A good piano restorer could rebuild and replace the worn parts and tweak the okay parts so they are better than before. A good rule of thumb is that, when a piano technician assesses your piano and says repair, the cost will be mild to medium depending on the repair. Maintenance is in the same bracket, but restoration is a clue that it is getting more expensive, and rebuilding is even more intensive.
So while restoration can be an excellent venture if you love your piano immensely, if it holds sentimental or historical value or if it is valuable enough to justify the expense, don't do it if you have only lukewarm feelings about the piano and don't use it much. You will be better off selling your piano to a technician who will rebuild and resell it, and buying a newer one with part of the money from the sale.
David Anderson Pianos is a full-service piano business offering complete restoration and maintenance services for pianos in the Los Angeles area. For more information, please visit http://www.davidandersenpianos.com.
Wednesday, November 22, 2006
Musicians and Performance Anxiety
Have you ever faced your time to shine, and felt overcome with an intense hesitation or worry about an upcoming performance? As the time nears for you to address your audience, do you suffer from sweaty palms? Is there a lump in your throat? Do you experience tremors, tension, stuttering, upset stomach or loss of focus? All of these symptoms are a sign that you may suffer from performance anxiety, which is a common problem that requires a little mental rewiring to get you on the right track.
Music performance anxiety develops from the thoughts, feelings and habits of a musician. The level of anxiety that one has will affect a musician’s desire to perform, as well as their ability. In order to deliver a high-quality performance, a musician must overcome the mental obstacles that create a barrier between wanting to perform and actually completing the act. When you feel anxious, pressure begins to build up that makes it impossible to pick up an instrument or sing a song.
Main Types of Performance Anxiety
There are three main kinds of performance anxiety that musicians encounter. The first occurs before a performance date is even mentioned. Fear of rejection or self-doubt regarding their abilities may hinder a musicians attempt to arrange a showing of their talents. The anxiety sometimes mounts to the point where a musician never feels they are truly ready to perform in front of others.
The second type of anxiety occurs during an actual performance. Gripped by fear of what the audience thinks of them, a musician’s body might tremble. Sweat may form on their forehead, nose, neck or hands. These bodily reactions may also impact the way an instrument is played. Voices become tight or locked, emitting cracked, flat or quivering notes. The anxiety of a musician might be so high that they may actually self-sabotage their performance without even knowing it.
Anxious musicians often become quite distracted by the slightest movement or noise during a performance. They might take this opportunity to blame their inability to complete their set because of outside interruptions. This is just an excuse. Within themselves, they do not feel completely adequate to continue their performance. Musicians with performance anxiety often exhibit poor concentration, as well as loss of focus.
After a performance, the anxiety madness continues, which is seen through a harsh, unforgiving critique of their presentation. The musician will nit-pick every aspect of their set and despite positive encouragement and comments, they will continue to downplay and dismantle their ability.
Tips On Managing Performance Anxiety
When it comes to getting over the hump of performance anxiety, there are numerous ways to combat the fears and doubt that come with presentation. Below are five aspects of performing that a musician suffering from anxiety should take into consideration:
1) Self-Assessment
When you get to know the ins and outs of yourself as an individual, as well as a musician, you are inching your way towards overcoming performance anxiety. Knowing what makes you tick both inside and outside musical circles will help you to better deal with the problems you face before, during and after a performance. A musician should analyze their performance goals, personal capabilities and limitations.
Musicians should also know that everyone has to start somewhere with infinite room for improvement. It is quite important for a musician to perform to the best of their abilities, as well as learn from mistakes and peer criticism.
2) Exposure: Baby Steps
Musicians should take the opportunity to gradually expose themselves to varying levels of performing. One moment a full-length mirror becomes a suitable audience, while the next could be a crowd of five friends. Testing low, medium and high levels of stressful performance situations will help musicians slowly overcome the issues faced in regards to performing. Additional suggestions include practice performances in an empty theater, dress rehearsals with friends and taping acts, then viewing them with family and friends.
3) Preparation
In anything that we do, preparation is an important component for achieving success. A good performance is one that has been thought out, thoroughly visualized and played over and over again in the mind. Once the mental preparation is complete, the physical part of the process involves sufficient practice and specific rehearsing for the particular venue you may perform at. Before a performance, a musician should enter this moment with a clear head. Meditation, yoga and other muscle relaxation techniques can create the right state of mind.
4) During a Performance
Every musician at some point in their lives will feel the flutter of butterflies before, during or after a performance. This is a normal occurrence that just takes some longer to get over. When it comes to the audience, you shouldn’t focus on blocking them out, but instead embrace them as support. If you go into a performance thinking that no one likes you or during a presentation focus on scowling faces, you will surely surrender to your flight or fight performance anxiety tactics.
Try to put anxiety in the backseat and attempt to stay calm. If you make a mistake, such as tickle the wrong piano keys, simply move on and do not dwell on small imperfections that pale in comparison to the overall scheme of things. Sometimes, if you don’t wear your disappointment or errors on your face, the audience is less apt to remember or care about mistakes. Breathing techniques will also come in handy once you get into the thick of performing and feel a touch of anxiety.
5) After the Performance
After each performance, take the time to assess yourself before relying on the approval or criticism of others. No one but you truly knows all of the hard work and preparation that went into your performance. Take the time to give yourself a mental pat on the back. Next, combine outside comments with your gut feeling to decide on what you can do next time. Regardless if you had the performance of your life or tanked on your first break, there are always aspects of your musical craft that you can still shape and mold for the future.
Music performance anxiety develops from the thoughts, feelings and habits of a musician. The level of anxiety that one has will affect a musician’s desire to perform, as well as their ability. In order to deliver a high-quality performance, a musician must overcome the mental obstacles that create a barrier between wanting to perform and actually completing the act. When you feel anxious, pressure begins to build up that makes it impossible to pick up an instrument or sing a song.
Main Types of Performance Anxiety
There are three main kinds of performance anxiety that musicians encounter. The first occurs before a performance date is even mentioned. Fear of rejection or self-doubt regarding their abilities may hinder a musicians attempt to arrange a showing of their talents. The anxiety sometimes mounts to the point where a musician never feels they are truly ready to perform in front of others.
The second type of anxiety occurs during an actual performance. Gripped by fear of what the audience thinks of them, a musician’s body might tremble. Sweat may form on their forehead, nose, neck or hands. These bodily reactions may also impact the way an instrument is played. Voices become tight or locked, emitting cracked, flat or quivering notes. The anxiety of a musician might be so high that they may actually self-sabotage their performance without even knowing it.
Anxious musicians often become quite distracted by the slightest movement or noise during a performance. They might take this opportunity to blame their inability to complete their set because of outside interruptions. This is just an excuse. Within themselves, they do not feel completely adequate to continue their performance. Musicians with performance anxiety often exhibit poor concentration, as well as loss of focus.
After a performance, the anxiety madness continues, which is seen through a harsh, unforgiving critique of their presentation. The musician will nit-pick every aspect of their set and despite positive encouragement and comments, they will continue to downplay and dismantle their ability.
Tips On Managing Performance Anxiety
When it comes to getting over the hump of performance anxiety, there are numerous ways to combat the fears and doubt that come with presentation. Below are five aspects of performing that a musician suffering from anxiety should take into consideration:
1) Self-Assessment
When you get to know the ins and outs of yourself as an individual, as well as a musician, you are inching your way towards overcoming performance anxiety. Knowing what makes you tick both inside and outside musical circles will help you to better deal with the problems you face before, during and after a performance. A musician should analyze their performance goals, personal capabilities and limitations.
Musicians should also know that everyone has to start somewhere with infinite room for improvement. It is quite important for a musician to perform to the best of their abilities, as well as learn from mistakes and peer criticism.
2) Exposure: Baby Steps
Musicians should take the opportunity to gradually expose themselves to varying levels of performing. One moment a full-length mirror becomes a suitable audience, while the next could be a crowd of five friends. Testing low, medium and high levels of stressful performance situations will help musicians slowly overcome the issues faced in regards to performing. Additional suggestions include practice performances in an empty theater, dress rehearsals with friends and taping acts, then viewing them with family and friends.
3) Preparation
In anything that we do, preparation is an important component for achieving success. A good performance is one that has been thought out, thoroughly visualized and played over and over again in the mind. Once the mental preparation is complete, the physical part of the process involves sufficient practice and specific rehearsing for the particular venue you may perform at. Before a performance, a musician should enter this moment with a clear head. Meditation, yoga and other muscle relaxation techniques can create the right state of mind.
4) During a Performance
Every musician at some point in their lives will feel the flutter of butterflies before, during or after a performance. This is a normal occurrence that just takes some longer to get over. When it comes to the audience, you shouldn’t focus on blocking them out, but instead embrace them as support. If you go into a performance thinking that no one likes you or during a presentation focus on scowling faces, you will surely surrender to your flight or fight performance anxiety tactics.
Try to put anxiety in the backseat and attempt to stay calm. If you make a mistake, such as tickle the wrong piano keys, simply move on and do not dwell on small imperfections that pale in comparison to the overall scheme of things. Sometimes, if you don’t wear your disappointment or errors on your face, the audience is less apt to remember or care about mistakes. Breathing techniques will also come in handy once you get into the thick of performing and feel a touch of anxiety.
5) After the Performance
After each performance, take the time to assess yourself before relying on the approval or criticism of others. No one but you truly knows all of the hard work and preparation that went into your performance. Take the time to give yourself a mental pat on the back. Next, combine outside comments with your gut feeling to decide on what you can do next time. Regardless if you had the performance of your life or tanked on your first break, there are always aspects of your musical craft that you can still shape and mold for the future.
Tuesday, November 21, 2006
What Makes A Good Entertainer?
Hi everyone!
My name is Kim Wist and I’m a professional magician from Finland. Finland is a rather small country, and we have only about 10 professionals who make their living on performing magic.
Despite this above mentioned fact, I do around 150 gigs per year, and that is about as much as I can handle.
I have been around the world in many magic conventions and seen a lot of good performers and sleight of hand artists, but the big question remains; why do some make a living performing this art, and other don’t.
Is it personality?
To some extent I would say yes, definitely. You have to be an open person and you must find it easy to communicate with people. Let’s say you do close up magic (which I strongly suggest you should also do if you want to make a good living in magic) but you find it difficult to confront people up close. This will obviously make you somewhat unnatural and the audience senses this very quickly.
It is of vital importance for a performer to be very bold, strong but at the same time sophisticated and not too aggressive. It is very important to be able to read the audience correctly and to ‘tune in’ into the audience.
A performer is not just anybody. He is someone people are used to look up to, give him the space and enjoy the ride. But if the ride is not enjoyable and the performer is uncomfortable it will end up very quickly.
Is it my technique?
The skill of the performer is also very important. A skillful performer always gets credited, take for example a good juggler; it is enjoyable to watch he’s pure skill and the excitement of the art.
So being skillful is also important and will add up to the total entertainment value. This should also not be overused and never just show off, blend skill into the performances with taste. We are speaking of the whole package here and that is what people are going to remember.
What magic style should I choose?
Well, obviously the one that suits you best, but there can be variations and exceptions.
What I do, is mixing comedy and magic. This is very common and many do this, but you need to be very good and very funny to make it really pay off.
Let me give you an example:
I used to perform more seriously, but I also wanted to have comedy in my shows. I ended up being confusing and probably not funny at all. I thought that the tricks I do will make people wonder and it is not so important what I say. Still after many performances I felt confused and lost. I haven’t found my stage person, and I did not get the reactions I knew were possible.
Then I saw a younger friend of mine perform in a magic competition. He was so funny I could not believe it, the audience loved him and he was having a good time on stage.
This was a big lesson for me.
I started to work with my program from scratch and really going through every second of it. What I say, how do I look, what gestures etc.
I had always on my mind my goal, which was to do good quality tricks but to be very funny at the same time. I rehearsed my show over and over and left out parts that did not really work and finally ended up with a 15 minutes of solid material.
I went to gig with this material and the response was amazing. People laughed, enjoyed themselves, and wanted to get my cards more than ever…
I knew I was on the right path.
Then I started to do the same to my close up magic. I was always a more natural close up worker than a stage performer, but I took my close up to another level also.
Finally I had a stage personality and I knew what I was doing and what I wanted to do.
What a relief and how nice it felt doing gigs and make people happy.
That is the secret how I get so many bookings.
Marketing is important, but the most important is the gigs you do, because there is always someone in the audience who is arranging a party in the near future and need a good entertainer. And the word gets around. Many times when a new customer calls me, he says he got a reference from somebody else who had seen me somewhere.
Customers want to get a good performer, because we all experienced the annoyed feeling a bad performer generates and if you do corporate magic you will never be booked again if you do a bad job.
Summing it up; be natural with people, practice your art, practice and review your show and don’t risk anything. Have a complete script for your show and follow it.
Keep improving and the gigs will come.
I hope you found something of value in this short article and wish you good luck and happy performances.
My name is Kim Wist and I’m a professional magician from Finland. Finland is a rather small country, and we have only about 10 professionals who make their living on performing magic.
Despite this above mentioned fact, I do around 150 gigs per year, and that is about as much as I can handle.
I have been around the world in many magic conventions and seen a lot of good performers and sleight of hand artists, but the big question remains; why do some make a living performing this art, and other don’t.
Is it personality?
To some extent I would say yes, definitely. You have to be an open person and you must find it easy to communicate with people. Let’s say you do close up magic (which I strongly suggest you should also do if you want to make a good living in magic) but you find it difficult to confront people up close. This will obviously make you somewhat unnatural and the audience senses this very quickly.
It is of vital importance for a performer to be very bold, strong but at the same time sophisticated and not too aggressive. It is very important to be able to read the audience correctly and to ‘tune in’ into the audience.
A performer is not just anybody. He is someone people are used to look up to, give him the space and enjoy the ride. But if the ride is not enjoyable and the performer is uncomfortable it will end up very quickly.
Is it my technique?
The skill of the performer is also very important. A skillful performer always gets credited, take for example a good juggler; it is enjoyable to watch he’s pure skill and the excitement of the art.
So being skillful is also important and will add up to the total entertainment value. This should also not be overused and never just show off, blend skill into the performances with taste. We are speaking of the whole package here and that is what people are going to remember.
What magic style should I choose?
Well, obviously the one that suits you best, but there can be variations and exceptions.
What I do, is mixing comedy and magic. This is very common and many do this, but you need to be very good and very funny to make it really pay off.
Let me give you an example:
I used to perform more seriously, but I also wanted to have comedy in my shows. I ended up being confusing and probably not funny at all. I thought that the tricks I do will make people wonder and it is not so important what I say. Still after many performances I felt confused and lost. I haven’t found my stage person, and I did not get the reactions I knew were possible.
Then I saw a younger friend of mine perform in a magic competition. He was so funny I could not believe it, the audience loved him and he was having a good time on stage.
This was a big lesson for me.
I started to work with my program from scratch and really going through every second of it. What I say, how do I look, what gestures etc.
I had always on my mind my goal, which was to do good quality tricks but to be very funny at the same time. I rehearsed my show over and over and left out parts that did not really work and finally ended up with a 15 minutes of solid material.
I went to gig with this material and the response was amazing. People laughed, enjoyed themselves, and wanted to get my cards more than ever…
I knew I was on the right path.
Then I started to do the same to my close up magic. I was always a more natural close up worker than a stage performer, but I took my close up to another level also.
Finally I had a stage personality and I knew what I was doing and what I wanted to do.
What a relief and how nice it felt doing gigs and make people happy.
That is the secret how I get so many bookings.
Marketing is important, but the most important is the gigs you do, because there is always someone in the audience who is arranging a party in the near future and need a good entertainer. And the word gets around. Many times when a new customer calls me, he says he got a reference from somebody else who had seen me somewhere.
Customers want to get a good performer, because we all experienced the annoyed feeling a bad performer generates and if you do corporate magic you will never be booked again if you do a bad job.
Summing it up; be natural with people, practice your art, practice and review your show and don’t risk anything. Have a complete script for your show and follow it.
Keep improving and the gigs will come.
I hope you found something of value in this short article and wish you good luck and happy performances.
Sunday, November 19, 2006
Seven Steps To A Successful Audition
I have been a musician since the tender age of 7 and in my career I've passed a larger number of auditions all of which have taught me something. These days, however, as the owner of a talent agency, I seem to be learning a disproportioned amount more about these same auditions. There is something to be said about looking at an issue from different perspectives.
In this article, I want to shed some light on what an audition process looks like from the point of view of the "auditioner" rather than the "auditionee". I'll give you seven tips that hopefully provide some help.
I should mention that my company, Oceanbound Entertainment Inc., hires musicians, bands, and variety acts for placement on cruise ships and thus the auditions I'll talk about will mostly relate to cruise line entertainment auditions.
Let me quickly outline the various types of auditions you can encounter when applying for a job on a cruise ship.
The most obvious type would be the live audition, where you go to the audition location in person and play what's asked of you.
You may also be asked to record your audition on videotape and mail it to the company. This is very similar to the first category since you'd play almost exactly the same music.
And finally, you may be asked to submit a recording of your band or your solo act to the company. This audition differs from the previous two in that you don't have to perform music that the company provides, but rather your own repertoire.
There are several problems that keep arising in regards to these different types of auditions that have led me to compile the following tips.
1. Get the details on the job description
This is one of the most important steps. If you know exactly what it is that the employer is looking for, you won't waste time, money, and energy presenting the wrong package. There is no point in submitting a tape of your local blues band if the employer is looking for a cover band that plays all kinds of musical styles. Similarly, there is no point in applying as a clarinet player if the job description clearly indicates that woodwind players have to play saxophone, flute and clarinet.
Also, if sight-reading is the main focus of the job you're applying for, there is no point in hoping you'll slip by simply because you can improvise like Charlie Parker.
2. Be flexible enough to present what's actually needed
Let's assume that you got all the details on the job description and you realize that you don't exactly fit that description. It is probably wiser for you to take some time to try to fit the description, rather than trying anyway, hoping it'll pass somehow. Try to make changes to your line-up, add some repertoire or start a completely new project that’s geared to the job in question.
3. Audition only when you feel that you have a good chance of passing
Often musicians apply for a job they are not qualified for. Now, you could argue that that's what auditions are for, and people couldn't possibly know in every case whether they are qualified or not. I agree, all I'm saying is that if the job description mentions that strong sight-reading skills are required for example, musicians should ask themselves how good their sight-reading skills really are and be honest about it.
Being dishonest about what your skills really are can hurt you in more ways than one. Let's assume for a minute that you slip through the cracks and you end up in an orchestra but you can't cut the gig. First and foremost, you'll be humiliated in front of other musicians, you'll feel uncomfortable, you may actually feel guilty for not being able to do the job, and you will get fired on top of it, which will most likely kill your career before it's begun. (This happens all too often...)
So if you are unsure about whether you are qualified or not, ask questions. Call the agency you are about to audition for and ask specific questions that will help you get a good picture of the job you're about to apply for. With that knowledge you can always postpone the audition and work on the skills that you may feel you're lacking.
4. Put some time and effort into preparing your best possible package
This applies to bands, small ensembles, and solo entertainers. Often artists get turned down, not because they are bad entertainers, but because they didn't supply a package that's appealing, that can be viewed quickly and that presents exactly what was asked for in the beginning. Often this happens because the artist already has some demo laying around that could kind of qualify but not really, and instead of modifying it or recording a new one that fits the specifications, they send it in anyway.
Usually, demo packages include the recording itself, which should present the exact repertoire you're planning to play on the gig, a short resume of each member, and a list of your repertoire.
You won't impress people with fancy DVD animations or 12-page resumes, but rather with short examples of the repertoire that's asked of you, played with energy and skill.
5. Try to impress with your playing, not with your resume
I would say 7 people out of 10 probably fall under this category. Simply put, a masters degree from the best school in the country won't get you a gig if you can't play, yet all too often do people try to sway the decision in their favor by mailing in overly long resumes stating all the famous people they've played with. You're doing yourself a disservice if you hype yourself up with your resume and you can't back it up later during the audition.
6. If you fail, accept the criticism and use it to prepare better for your next audition
All the practicing in the world may sometimes not be enough to pass an audition. If that's the case, accept the reasons that you're given by the jury, and go home and practice those specific things. If they aren't forthcoming with specific reasons, ask questions. I think it's only fair that a jury tells you what your weaknesses are if they turn you down.
I'll spare you the details of all the things we've heard from people that have been rejected. Just watch "American Idol", and you'll get a good idea of what we go through sometimes.
7. Be honest about your strengths and weaknesses
This step ties in with step #3. Keep in mind that the ideal candidate for a job is not always the best musician. Other qualities like, honesty, work ethic, respect for others and inter-communication skills, amongst others are qualities that you're being judged on. Weaknesses you've been trying to hide prior to the audition will come out during the audition and will speak volumes about your character. Would you hire a dishonest person?
Those are my "7 Steps to a successful audition". I hope that some of you will find this information helpful. Please visit my website for more information on the subject of "Music on Cruise Ships". Contact me if you have questions or if you'd like to audition.
In this article, I want to shed some light on what an audition process looks like from the point of view of the "auditioner" rather than the "auditionee". I'll give you seven tips that hopefully provide some help.
I should mention that my company, Oceanbound Entertainment Inc., hires musicians, bands, and variety acts for placement on cruise ships and thus the auditions I'll talk about will mostly relate to cruise line entertainment auditions.
Let me quickly outline the various types of auditions you can encounter when applying for a job on a cruise ship.
The most obvious type would be the live audition, where you go to the audition location in person and play what's asked of you.
You may also be asked to record your audition on videotape and mail it to the company. This is very similar to the first category since you'd play almost exactly the same music.
And finally, you may be asked to submit a recording of your band or your solo act to the company. This audition differs from the previous two in that you don't have to perform music that the company provides, but rather your own repertoire.
There are several problems that keep arising in regards to these different types of auditions that have led me to compile the following tips.
1. Get the details on the job description
This is one of the most important steps. If you know exactly what it is that the employer is looking for, you won't waste time, money, and energy presenting the wrong package. There is no point in submitting a tape of your local blues band if the employer is looking for a cover band that plays all kinds of musical styles. Similarly, there is no point in applying as a clarinet player if the job description clearly indicates that woodwind players have to play saxophone, flute and clarinet.
Also, if sight-reading is the main focus of the job you're applying for, there is no point in hoping you'll slip by simply because you can improvise like Charlie Parker.
2. Be flexible enough to present what's actually needed
Let's assume that you got all the details on the job description and you realize that you don't exactly fit that description. It is probably wiser for you to take some time to try to fit the description, rather than trying anyway, hoping it'll pass somehow. Try to make changes to your line-up, add some repertoire or start a completely new project that’s geared to the job in question.
3. Audition only when you feel that you have a good chance of passing
Often musicians apply for a job they are not qualified for. Now, you could argue that that's what auditions are for, and people couldn't possibly know in every case whether they are qualified or not. I agree, all I'm saying is that if the job description mentions that strong sight-reading skills are required for example, musicians should ask themselves how good their sight-reading skills really are and be honest about it.
Being dishonest about what your skills really are can hurt you in more ways than one. Let's assume for a minute that you slip through the cracks and you end up in an orchestra but you can't cut the gig. First and foremost, you'll be humiliated in front of other musicians, you'll feel uncomfortable, you may actually feel guilty for not being able to do the job, and you will get fired on top of it, which will most likely kill your career before it's begun. (This happens all too often...)
So if you are unsure about whether you are qualified or not, ask questions. Call the agency you are about to audition for and ask specific questions that will help you get a good picture of the job you're about to apply for. With that knowledge you can always postpone the audition and work on the skills that you may feel you're lacking.
4. Put some time and effort into preparing your best possible package
This applies to bands, small ensembles, and solo entertainers. Often artists get turned down, not because they are bad entertainers, but because they didn't supply a package that's appealing, that can be viewed quickly and that presents exactly what was asked for in the beginning. Often this happens because the artist already has some demo laying around that could kind of qualify but not really, and instead of modifying it or recording a new one that fits the specifications, they send it in anyway.
Usually, demo packages include the recording itself, which should present the exact repertoire you're planning to play on the gig, a short resume of each member, and a list of your repertoire.
You won't impress people with fancy DVD animations or 12-page resumes, but rather with short examples of the repertoire that's asked of you, played with energy and skill.
5. Try to impress with your playing, not with your resume
I would say 7 people out of 10 probably fall under this category. Simply put, a masters degree from the best school in the country won't get you a gig if you can't play, yet all too often do people try to sway the decision in their favor by mailing in overly long resumes stating all the famous people they've played with. You're doing yourself a disservice if you hype yourself up with your resume and you can't back it up later during the audition.
6. If you fail, accept the criticism and use it to prepare better for your next audition
All the practicing in the world may sometimes not be enough to pass an audition. If that's the case, accept the reasons that you're given by the jury, and go home and practice those specific things. If they aren't forthcoming with specific reasons, ask questions. I think it's only fair that a jury tells you what your weaknesses are if they turn you down.
I'll spare you the details of all the things we've heard from people that have been rejected. Just watch "American Idol", and you'll get a good idea of what we go through sometimes.
7. Be honest about your strengths and weaknesses
This step ties in with step #3. Keep in mind that the ideal candidate for a job is not always the best musician. Other qualities like, honesty, work ethic, respect for others and inter-communication skills, amongst others are qualities that you're being judged on. Weaknesses you've been trying to hide prior to the audition will come out during the audition and will speak volumes about your character. Would you hire a dishonest person?
Those are my "7 Steps to a successful audition". I hope that some of you will find this information helpful. Please visit my website for more information on the subject of "Music on Cruise Ships". Contact me if you have questions or if you'd like to audition.
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