As a Harmony Conductor, you are creating harmony in the wonderful compositions of your life.
A Harmony Conductor shapes his life knowing:
”Whatever gets full attention grows.”
A Harmony Conductor is particularly keen on seriously playing with the powerful tool of
The symphonic orchestra ‘ Crescendo’ exists ever since you were born.
Every day, the musicians in this orchestra practise to their best ability with great devotion to their instruments and the orchestra.
The Harmony Conductor is the driving force behind all the performances of this orchestra. With a passion for wonderful harmonies, he does also always the best he can. Conducting is his life.
He knows that conducting an orchestra takes more than just handing out the partitions , count to 4 and go with the flow. He knows that the musicians look at him for directions, in the rehearsal and learning processes as well as during the performances.
Aiming for obviously rewarding and mind blowing beautiful performances, it’s clear that everybody in the orchestra needs to invest time and energy .
The individual musicians, as they are professionals, play and study their instrument every day to their best abilities, with the passion of somebody who can’t picture himself doing anything else.
In order to play their part in the orchestra well, they need to know their individual role within the compositions: where they play a supporting role and where their instrument is the leading voice.
Within this role, they need develop the understanding of all the nuances in the rhythm and volume that will make the performance as a whole lively and interesting.
The Conductor is the one who hears best the results of the individual work as it’s combined to a whole. He is therefore in the position to give directions in how the performance can be rewarding and satisfying to all parties: the musicians, the conductor and the audience.
Since everybody feels ‘ the show must go on’, the professional musicians will always continue playing, even if the directions are not so clear. Playing their instruments, as it is expressing the essence of their being, is their life and joy.
The Conductor of the orchestra enjoys his role. He really has a lot of fun in giving the directions and seeing what happens. For him too....using and developing all his skills, playing with what he does best, is expressing the essence of his being. It’s his life and joy, to enjoy every day the results of his work.
You can be a Harmony Conductor
The fact that the orchestra Crescendo exists since you were born is no coincidence, simply because it is YOU.
You have this beautiful orchestra to work with: all the sections of your being, each playing an important and yet different role in creating the compositions of your life.
Your body, your mind, your soul, they all consist of several professional musicians and supporting staff members, eager to show you and the world what they are capable of.
Are all the musicians in your orchestra working consciously together ( with you) to create the desired harmony in your life?
If you find life amazingly beautiful and filled with joy, happiness and confidence you feel that life is good, you are probably enjoying your orchestra very much.
If, on the other hand, you feel your life is boring most of the time, or even miserable or ‘ just fine’, because of health- money – relations- living circumstances problems.... you may feel distant from your orchestra.
If the later is the case and you like the analogy of seeing your own whole being as an orchestra, then ask yourself this:
“ Am I blaming the musicians for playing too loud, out of key, too fast, too lazy or for playing horrible music....? “
If that is the case...
Do you feel, in this very moment reading these lines, restless movements in your diaphragm?
Could it be that the Harmony Conductor in you is , right as we speak, asking for attention, to begin on ‘ 4’ to learning to play new compositions?
Or.. could it be that the musicians in your orchestra are murmuring in covered up excitement to each other that they would appreciate having more guidance from the Director... wishing for more love and understanding from.... YOU?
How do you feel to consider subscribing to the idea that your orchestra, your being as a whole, is not challenged enough nor guided enough nor appreciated enough to show its full potential....? And that your orchestra would like YOU to take the lead in changing all that?
Slightly exited? Curious? Worried maybe?
Are you still reading?
Why not take a moment to ask yourself how you view your orchestra and its musicians right now.
Do you question if they are listening to each other at all?
Do you question if they are listening to you at all?
Do you question if they are helping you?
Do you wonder if your orchestra is worth listening to?
Do you feel it is a complete orchestra, capable of playing any compositions... or do you feel it’s just a tiny insignificant bunch of musicians with limitations? Do you feel a ‘soul’ section in you orchestra, for instance.... do you ever hear your ‘soul’ sing?
Do you still listen to what your orchestra produces, or have you tuned out on what it has to offer?
The honest answers might very well be:” At the moment, no”.
But if a part of you is curious and you want to look into it some more... take a deep breath, count to 4 and start working with your orchestra on making Energetic Sound Transactions yourself.
Your orchestra may react surprised and confused and even scared at first. But if you challenge your musicians in a seriously playful way, they will respond with playing seriously to their best abilities.
It starts with you, paying full attention to everybody’s contribution.
Each and every one in the orchestra will gain confidence, will understand his place in the scheme of things better.
Each and every one loves being an important part of this wonderful orchestra , able to contribute to magical compositions.
And yes.. that includes the Conductor... that includes YOU.
The music you send into this world will be enchanting and people will be pleased to listen to it.
And, as making Energetic Sound Transactions within your orchestra pays off in joy and happiness...you may want to make them with other people as well.....to enjoy all the Good Things of life, where ever you go?
Would you like to be a Harmony Conductor yourself?
If you say ‘ yes’ to this question and also mean ‘ yes’, then you can decide to do ‘ yes’ and make an Energetic Sound Transaction of it!
The tools a Hamony Conductor enjoys to play with:
The Harmony Conductor has a preference to use every day the tools of ‘ full attention’.
According to the Conductor: “ Whatever gets full attention, grows.”
So he knows that he benefits from paying full attention to two important types of activities:
Full attention suggestion 1: tapping into new input from the sections
He is aware that the individual musicians don’t get full attention when they all practise constantly together as a group.
Therefore he invites them, individually or in small sections, to practise and talk things through.
Sometimes investing 20 minutes is enough to make this specific Energetic Sound Transaction:
Saying, meaning and doing ‘ Yes, I value our relation as important and therefore we connect regularly with complete focus, to share each other’s valuable input in a satisfying way. I’ve got something to offer to you, you’ve got something to offer to me.’
It’s investing in a safe and harmonious relationship and any topic can be discussed. The Conductor knows that ‘ problems’ and ‘discontent’ contain valuable information on how to improve something, if they are welcomed and looked at with full attention as an opening to make a welcome change.
With all the sections in the orchestra, the Conductor makes arrangements on how they can have his full attention: how frequently on a regular basis and how they can reach him, if needs be.
Some of the sections thrive on a certain rhythm, especially those who provide for the steady beat in the compositions: food and sleep.
They could have easily discarded those things.. put them in the bin.....
But since they are involved in what is going on.. they keep an eye open and offer you help by sorting things out and present the possible treasures to you.
After this intensive work together, the sections go their own way in their own rhythm of resting and practising on their own instruments.
The Director is close by usually and chooses how he spends his time and energy best and enjoyable: listening to some of his musicians, exploring some new material, listening to some performances of other orchestras, organise things for upcoming events.....
All the sections, all the individual musicians know that they can ask for the Conductor’s attention, if needs be.
The way of ‘ calling’ differs, depending on who is calling. When the food section suddenly needs attention, they play the tune of ‘hungry’ . The blather section always calls for some attention to relieve them after fulfilling their process work. And when the maintenance workers need to do something to repair something during practise time , they will run it by the Conductor first, calling him with a ‘ we need a break’ signal, so all the musicians can be informed and finish things that need finishing first.
In an orchestra, things change constantly: musicians need to move, to rest, need some fresh air, a chat, adjusting their instruments, a repair.....
Most of these activities take place without any need for the Director to actively do something.
But sometimes the section hasn’t the confidence to do it on its own. Or it needs guidance or help or advice from either the Director or from other sections in the orchestra.
The Director encourages them to give him a signal, whenever that is the case.
Waiting and being insecure if you van have what you need is no fun at all.. so the Conductor promotes to address it before it becomes stressful!
Whenever such an issue occurs and a desire to change something becomes apparent, the Director knows his role.
He pays full attention and follows these steps:
‘ Worries’ and ‘ critical inner speech’ are sections that in most orchestras need extra care and attention from the Director.
If the Director doesn’t go and sit and talk with them in a calm and welcoming way, they are the first sections to ‘ make noise’ , all the time and everywhere.
Their instruments are loud and can distract the other instruments easily from concentrating on playing their own instrument well.
If the Director understands that because of the volume these instruments produce, they can’t ‘ hide in the mass’ if they miss a note. Then it’s easy to understand their sensitivity to threats to the overall quality of the performance.
He recognizes that ‘ worries’ and ‘ critical inner speech’ are the loudest expressions of the desire to work together in a wonderful talented orchestra.
So yes, the worries and critical inner comments in your orchestra can play so loud, that all you ever seem to hear from you orchestra is their loud and constant ‘noise’.
You may be trying hard to ignore them or to tell them to do their job properly...
In case that is not leading to the desired results.... you may want to sit down and listen to what they are actually telling you if you acknowledge them as valuable advisors.
By the way... aim for making Energetic Sound Transactions with them! So, you don’ t have to literally do what they say, if that doesn’t feel right. Because that would be saying ‘ yes’ , meaning ‘ no’ and doing ‘ yes’ ....
A Energetic Sound Transaction you can usually easily close with them is that you will both agree on paying full attention to each other for 20 minutes a day, every day, until further notice.
Stick to that plan and whatever they tell you, ask questions, ask for suggestions and if you agree on doing something... do it!
You will find out, after a few days, once they see that you are really paying attention to them, that they will calm down and will be the best advisors, most independent and very inspiring musicians in your team. And as their ( loud) instruments sound happier and are played with more confidence... the other instruments pick up on that as well!
By the way, about that time you will find out that the instruments on which they played tunes in minor called ‘ worries’ and ‘ critical inner speech’ , are in major singing about ‘value’ and ‘fulfilment’ .
Full attention suggestion 2: processing all the input: me-time
The Director makes sure he has every day some time ‘ disconnected’ from every influence in the outside world.
His cell phone and computer are switched off and he doesn’t answer the door.
He may chose to do a simple task that doesn’t need much active attention, like weeding the garden, or cleaning the bathroom. Or he finds himself a nice spot to sit and ponder in nature, or he takes a bath.
The main purpose of this time is to reflect on all the input he has had in the last day and let it sink in and simmer.
He isn’t squeezing his brain to work hard on topics. No, he just floats on the thoughts that come and go. Like sniffing on the different flowers in a garden, without picking the flower. Some people refer to this mind state as ‘ meditate’ .
Very often things fall automatically in place and give direction to ‘ how to proceed’ when he is in this state of mind: actively open and disconnected from distractions.
Investing some time, every day, in me-time is a very valuable investment in the whole process.
Many people think that they cannot do such a thing. To them, having responsibilities means being accessible at all times for others.
But this process time is crucial for being able to pay the rest of the day full attention. A Directors mind just needs a period of processing time to digest what it has absorbed.
Like a violin player needs some time alone to tune his instrument, the Director needs this time to tune his instrument by letting the tension go for a period of time and relax into the ‘ things that are on the table’ .
If he doesn’t take at least 20 minutes a day (preferably even one hour), then he will notice that paying full attention to the orchestra is more difficult and less enjoyable.
Partially, it is more difficult, because his conscious mind simply needs this process time and will start multitasking in order to get it. That means that it will partially wander off whilst in a meeting or whilst in a rehearsal session.
Then the ‘ full attention’ is lost on both activities! Both activities will not go smoothly and are not fully enjoyed, because crucial things are missed.
The musicians will notice that the Director is distracted... some may start to worry why... and ‘ full attention’ is lost on all scores.
The Director is pretty convinced.
The amount of results that can be achieved spending one hour of playing together plus 20 minutes of me-time is much more and much more satisfying than spending the same one hour and twenty minutes on trying to combine the two in the same time frame!
Therefore he doesn’t feel guilty or egotistical At all when he shuts the door and unplugs the phone for half an hour or an hour because everybody benefits from this time investment in tuning his own ‘ instrument’, with full attention ( but with little tension!).
Also, taking this me-time is a very strong positive signal to the orchestra.
Yes, I can have some me-time every day. It is precious to me to do my job with full attention. I am happy and confident that you are meanwhile doing whatever is necessary.
Sending this relaxed message of confidence and actually taking this me-time every day, in arrangement with the orchestra, reassures the rest of the orchestra that all is going well.
The leader wouldn’t be so relaxed about it, when there were immediate problems to be solved that need his attention. So all is well!