Skip to main content

Creating Ritual

Today I’m thinking about Ritual.

This year, 2018, I have called my Year of Temperance, because my project is to find and feel more balance in my life. So I’m not just running from one thing to another all the time. So I’m not glossing over crucial moments in my life, always focussing on other tasks. So I don’t feel so frantic, and I have more white space in my mind to dream bigger and build bigger.  I like the concept, and the intention.  Five months in, I can't say I'm all that Temperate yet.  But I'm working on it.

On Wednesday I drew the Page of Pentacles as my Crux Finder Card of the Day.  I suggested to my community that we LOOK at our money, and our income streams.  On Thursday, by and for myself, I drew the Daughter of Discs.  Different deck, same card.  What exactly am I supposed to look at, Tarot? What is the message I need?

This card shows a young girl holding a coin up before her.  Gazing at it, exploring it, wondering at it, seeking to understand it.  The image in the card appears ceremonial, ritualized, but the child simply looks curious and interested.  I decided that I wanted a ritual to connect me with money and foster an abundance mindset.

It's not that I need to make more money - though I wouldn't say no - but that I would like to feel more at peace with the income streams I have and their overall continuity.  Musicians - freelancers in general - bring in money intermittently and from a wide range of sources.  Some weeks my income is primarily from performance, sometimes from teaching, sometimes from my reed business.  Some months are exceptionally lucrative, some nearly barren.  The money always comes from somewhere - that's my mantra - but sometimes it can be hard to trust in it.  The older I get, and the more responsibilities I have in my life, the more I need, right? So the flow of money through my life is important and relevant.

So on Friday I went into my journal, and I ceremonially wrote down all of the money that came in that day.  I had a number of checks and direct deposits.  I  thought about each of the people and organizations that had paid me, and about what I had done to earn that money, and I felt grateful for each check and for each gig and each reed and each lesson. I wrote down my feelings of gratitude, and honored the work I had done and the people who had trusted me to do it.

And I loved this.  I felt better when I had done it.  I felt more confident about the future, remembering how many different things I do and do well.  I felt more connected to my customers, students, employers. I felt more connected to my money, in a good way.  This is a Friday ritual I will keep.

Comments

Popular posts from this blog

Knife Sharpening

I've gotten a lot of questions on this topic, and the most recent querent prompted me to make a video to demonstrate.  You can find that  HERE . Knife sharpening seems to strike terror into many hearts.  And it's little wonder.  Many famous oboists have gone on record as saying that a sharp knife is the most important aspect of reed making. People have entire systems of stones and strops and rods set up to sharpen their knives. And it is important, of course it is - but I don't believe that you need your knife to be razor-like, or objectively the sharpest blade of any in your home.  The reed knife has one job - scraping cane off in precision ways - and it has to be sharp enough for that, and sharpened optimally for that purpose.  More than that is overly fussy for my taste. This is not to say that I allow my knife to be dull.  A dull knife forces you to put too much pressure on the reed and can cause cracking. Obviously it can lead to terribly inc...

Exciting Upcoming Concerts

The South Bend Symphony has a great concert this weekend that I've been really excited about. If you are in town you should definitely try to attend, as it features Prokofiev's thrilling Symphony no. 5 AND our marvelous concertmistress, Zofia Glashauser, playing the Tchaikovsky Violin Concerto. However, I will not be there. This Friday and Saturday I am playing Strauss's Ein Heldenleben with the Milwaukee Symphony , and loving every single minute. This orchestra sounds spectacular, and here's why. They rehearse. They have plenty of time to really listen to each other and get things right. This morning, our service was a wind sectional, which blew my mind. Almost 2 full hours with only the winds and brass, just on this one 40-minute piece. The conductor worked with us on every detail. Intonation, articulation, ensemble, balance, style. And still we have another full orchestra rehearsal tomorrow as well as the dress. I haven't sat in a winds-only rehearsal...

Beauty of Sound

In our dress rehearsal Saturday afternoon, the conductor did exactly what I often do to my students - he asked the violins to play more beautifully, and they did.  He didn’t tell them how, or give them a flowery expressive speech, he just asked for more beauty of sound, and they immediately gave it to him.  To a great extent the sound we produce is set, based on our equipment and the shape of our mouths and our bodies - but it can be altered, too.  Adjustments in reeds and instruments can go a long way, but the key change we can make is in our own minds. I don’t know how to explain it physically, but if you determine the sound you want to make you can produce it.  Or at least you can lean in and approach it.  This is something I’ve been paying a lot of attention to lately in my own playing.  As I prepare the Saint-Saëns Sonata to perform on our Oboe Studio Recital (tonight at 7 - details HERE ), my approach is largely about beauty of sound and vibrato....