Skip to main content

The Pleasure in Doing It

Sometimes I just like having run. After your shower and your coffee it feels good to have run, earlier in the day, and to feel that gentle ache and tiredness in the muscles that comes from having used your body productively. I don't always enjoy running while it's happening, and I HATE the snow.

But running in the snow is such a pleasure.  It's exhilarating.  It's freeing.  It feels like being a kid again, with the icy wind in your face and the triumphant feeling of doing something all by yourself.  Anyone can go out for a jog when it's 65 and sunny, but I was out this morning, in 22 degree weather, with the snow all blowing up in my face, and I met another woman running  - and as we passed each other we both raised our arms like Rocky and cheered for each other, and for ourselves, just filled with the
gleefulness of being in the club. The club of crazies.

This pleasure, the joy of winter running, is hard to come by.  It's HARD to power through the resistance of leaving a warm house.   No part of your body wants to go out there.  No matter how persuasively you try to tell yourself that you'll enjoy it, you know that it's worse outside than inside.  But once you start, for 30 minutes or so it's the best thing ever. 

Similarly, you have to overcome some resistance to practice the oboe.  Soak up a reed, put the thing together, play the first few notes and sometimes you just say "UGH, so this is how it's going to be today."  The pressure feels bad.  The first sounds of the morning are not beautiful.  And it's tempting to put the thing away and go back to bed. 

(Just me? I bet not.)

But there's a reward if you keep going a little bit. If you power through a few minutes of warming up, and you get into a piece of music you like.  Or one that has an interesting challenge.  Or one that makes you feel like someone else.  Or one that makes you feel like yourself.  At those times, the pleasure is not in having practiced, it's in practicing.  When you're in the zone, and you're focused, and you're overcoming resistance - just a little - there's nothing like it and you don't want to stop. 

And it's that magic, that in-the-zone feeling, that only-I-am-in-the-intensity-of-this-moment feeling, that keeps us coming back.  Some months I'm less of a runner, some days I hate the oboe - but I always come back. The pleasure is really in the DOING of it. 


Comments

Popular posts from this blog

The Blog has MOVED

 Have you been waiting ... and waiting ... and WAITING for a new Prone Oboe post?  Don't wait here anymore!  The blog has moved to https://jennetingle.com/prone-oboe/  and will not be updated here on Blogger anymore.  Please come and check me out there!  I love you all - stay safe out there!  Jennet

How Do You WISH You Could Describe Your Reeds?

In Reed Club last Monday, we took a moment before we started scraping to set some intentions.  We each said one word - an adjective to describe what we WANTED our reeds to be.  An aspirational adjective. Efficient was a word that came up, and Consistent . Dark and Mysterious . Mellow . Predictable .  Trustworthy .  Honest .  BIGGER . Reed affirmations actually felt helpful - both in the moment and in the results we found as we worked.  I don't know why that surprises me - I set intentions at the beginning of the year, at the beginning of the month, at the beginning of a run, in the morning before I work.  I love a good affirmation.  I love WORDS.  But I'd sort of forgotten about the possibility of applying one to the mundane work of reed-making.   You don't have to know exactly how to GET to that result.  But having clarity in your mind about what that result is?  Helps you to stop going down unhelpful rabbit holes...

Don't Wait For It

 Don’t wait for it. The lowest notes on the oboe are notoriously difficult to play. They don’t want to speak, they MIGHT splatter, they are SLOW to respond, they feel flat. And if your instrument is even slightly out of adjustment, they can be even more resistant - sometimes literally impossible. And some students WAIT for that low note to come before they go on, and THIS disrupts the rhythm, the tempo, the flow of the piece, and the musical line they are trying to create.  It distracts the listeners, it throws the ensemble off.  The pianist has to lurch to catch them, the conductor has to stop and yell.   One missed note, or one note that doesn’t quite speak - THAT doesn’t ruin your communication. But the distraction and disruption for both you and your listener that happens when YOU acknowledge the problem, when YOU make us all wait patiently for the response of a low C - that’s when you lose us. I think every low note has three possibilities within it. 1. It ...