“And the mind becomes fit for concentration.” Patanjali, on dharana
Admit it—you’re distracted. You might call it “busy,” “multi-tasking,” “overwhelmed,” or “the norm for this time of the year.” But do you struggle to stay with one thing at a time without checking messages, doing a chore, letting the dog out, ordering a holiday gift or a coffee-to-go, or handling some other task? And are you zig-zagging through rehearsals, unable to focus on the musical needs because the administrative details that are always a part of our work are rattling around in your active mind, facing a looming deadline?
Our singers are no different. They may look attentive, but (as we know from our own experiences) they can get very good at appearing engaged when in reality, they haven’t heard a thing we said. So when we are peaking for a concert, working through the final details of a piece perceived by singers as “done” (but oh, do we have work yet to do), harnessing attention from a different perspective may help us get there.
“What if this were the only song you were going to sing in the concert?”
This is my question to singers when we are at that stage of the rehearsal cycle. When I sense a gap, however subtle, between what they are actually showing in rehearsal and what I know we worked on. The discussions and experiences with text, style, phrasing, tone, and yes, even accurate notes and rhythms. Will it “come together” for the concert—sure—but will the singers experience and share the richness and beauty of the sound, in the moment, or just respectably “get through” the piece?
Conductors have their own challenges. As we design standing arrangements and lighting, organize movement of the choirs, communicate with guest musicians, and prepare multiple scores with countless details, will we be able to rise above a multi-task mentality as we lead the musical experience in rehearsals and in that moment of performance?
“What if this were the only piece I was going to conduct in the concert?”
“The Only” elevates an experience to something of singular value. Own one wristwatch? You love it. Own two, they’re fine. Own three, meh, what time is it?
The Only helps us tune out external distractions (the practice of pratyahara) and embrace a singular focus, bringing ourselves back to it when the mind inevitably wanders (the skill of dharana). In the yoga tradition, pratyahara is the transitional limb (the fifth in the eight-limbed practice), turning inward to later stages of concentration (dharana), sustained meditation (dhyana), and ultimately, complete absorption with the object of attention (samadhi).
Yoga practitioners develop these skills in practice, including life practice off the mat. As we check in with our nervous system during the warm-up period, we tune out whatever came before rehearsal and we focus on the breath—”the only” in that moment—returning back to it when the mind moves to other thoughts. Throughout rehearsal, we direct attention to aspects of sound, asking “how did that sound change” or “what did that feel like,” opening the door to a heightened sense-ability. Removing distractions by coming back to the breath first (always key for singers) can prepare the way for better concentration on sound, even just one sound.
“What if this were the only note you were going to sing in the concert?”
“The Only” is a powerful tool for removing distractions, an immense challenge in our modern world, and for enhancing awareness and concentration—for developing the skill of mindfully shaping sound. For stopping time and living, singing, in the moment.
Dr. Ramona Wis is the Mimi Rolland Endowed Professor in the Fine Arts, Professor of Music, and Director of Choral Activities at North Central College in Naperville, Illinois and the author of The Conductor as Leader: Principles of Leadership Applied to Life on the Podium (and video course through Forward Motion, https://www.fwdmotion.org/sp-ramonawis-conductorasleader ). Dr. Wis is a 500-hour CYT (Certified Yoga Teacher) and a certified Brain Longevity® Specialist. Find her at: or ramonawis.com.


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