The Mind Over Finger Podcast - 156 Thomas Mesa: Process, Patience, & Creativity

Starting point is 00:00:00 You're listening to The Mind Over Finger Podcast, episode number 156. Welcome to The Mind Over Finger Podcast, discussions on mindful music making, efficient practice, optimal performance, and building a purposeful life and fulfilling career. I'm your host, violinist and certified performance and life coach for musicians, Dr. René-Paul Gauthier. Hi, everyone. Welcome to this last episode of 2022. I hope that this marks the end of what was a really wonderful year for you. And I want to send you my very best wishes for a luminous, joyful 2023 filled with incredible opportunities for you. For myself, after I sign off from this episode, I'm going to be taking a well-deserved break and a little vacation. So I will see you

Starting point is 00:00:59 back here in mid-January for many more great conversations with fantastic guests and also many more solo shows filled with tools and concepts to support you on your musical journey. And for today, I could not be more excited to bring 2022 to a close with an incredible musician, cellist Thomas Mesa. Tommy has established himself as one of the most charismatic, innovative, and engaging performers of his generation. He was the winner of the first prize in the 2016 Sphinx Competition and the Astral Artists 2017 National Auditions. He's appeared as soloist at the Supreme Court of the United States on three occasions and with major orchestras including the LA Philharmonic at the Hollywood Bowl,

Starting point is 00:01:48 the Cleveland and Philadelphia orchestras, and the Indianapolis, Santa Barbara, and New Jersey symphony orchestras. Highlights of the 22, 23, and 23, 24 seasons include many new commissions, premieres, and recording projects. Venues will include places such as Carnegie Hall, the Met Museum, Philadelphia Chamber Music Society, the Supreme Court, Colburn School of Music, Kohler Foundation, and many more. I can't wait to dive in and talk practicing, performing, and building a career with Tommy Mesa. But before we do that, I want to remind you guys that I have your success plan for 2023 available right now at mindoverfinger.com. Maybe you want to win an audition. Maybe you're working towards a big recital or a big world premiere. Maybe you're

Starting point is 00:02:38 a teacher looking for a new approach to get your students to perform with confidence. Well, I have you covered with all of this. You're going to get a step-by-step detailed plan with all the systems, the methods, the mindsets, and the support to get you to accomplish those goals. Go to mindoverfinger.com today and join Practicing for Peak Performance, my online course where I have all of those things for you. You can expect to feel certain about your process, to learn your music better and faster and to develop the ability to feel confident in performance and play your best. Your time is precious and you deserve to see massive results. In practicing for peak performance, I'm going to help you develop the kind of practice approach that will make that

Starting point is 00:03:34 happen for you. 2023 is going to be your year. So don't wait and start experiencing these results right now. Go to mindoverfinger.com and join practicing for peak performance today. And now, let's hear it for Tommy. Let's go to the show. Thomas Mesa, it's so great to have you on the show for this last episode of 2022. Glad to be here. This is great. Thanks for having me on. It's awesome. Tommy, let's hear all about you. You perform extensively as a soloist, a recording artist, chamber musician, and also as a member of the Sphinx Virtuosi. Please share with us how your artistic path has unfolded. Yeah, I mean, you know, I started fairly late on the cello.

Starting point is 00:04:32 um this was like when I was 12 years old and I think uh it really all started with like listening to Jacqueline Dupre's recordings I absolutely love her playing and still do and like there's just so much energy and passion I think that was like really like the roots of what inspired me to to try and search for my own individual voice and like you know I I can't say that I've ever like I enjoy playing in orchestra and I enjoy chamber music um those are things I really do enjoy but I I can't say I enjoy it as much as uh sort of searching for what my own voice is um and you know like a cello piano texture cello with orchestra like I absolutely love that repertoire and I have since I was you know let's say 15 years old and like I mean I would

Starting point is 00:05:30 obsessively listen to Jackie Dupre and of course Yo-Yo Ma and I mean there were times when I was just trying to like imitate what they were doing at the expense of like building bad habits right like I had no idea like how to make a vibrato I just wanted to I just wanted to do it and I would always challenge myself to try to copy and uh I think that really created this sort of craving uh for for doing what I'm currently doing uh in a way that like I think my upbringing in some ways like my cello education started with that like seed of of kind of soloistic playing in my mind and so you know I mean you never know what's going to happen and of course and like you know I ended up you know getting into a good school my undergrad then went to Juilliard and

Starting point is 00:06:22 then i went to northwestern and then that's where we we actually became acquainted uh in the chicago area and uh and yeah i mean uh since then i moved to new york city again started my doctorate at manhattan school of music because i i loved teaching and i love you know everything that that entails like i love helping other people but i also love learning from my students and learning how to teach myself even further than what i currently can do and so i love i love that process of you know you're teaching and you you learn how to teach yourself in a lot of ways in the process um so that's kind of you know all at the same time i'm trying to build a solo career and i've got a couple of good managers and so it's been going pretty well and i love recording

Starting point is 00:07:10 as well i just finished a recording project with michelle can and um i'll be doing one with Olga Kern as well like in about a year and so everything is kind of planning and going in a good direction Sphinx Virtuosi I'm not even sure if I'm allowed to say it but we just signed a contract with Deutsche Grammophon

Starting point is 00:07:31 to record you know Jesse Montgomery's cello concerto plus a bunch of other chamber works and so I'm like really excited for the trajectory of where everything's going and just keep riding the wave and you know keep going for the things that I'm passionate about

Starting point is 00:07:47 I love hearing about all of these projects that you have coming up. You know, when I was looking into potential topics for us to discuss, and I was looking at questions that listeners are sending me, I thought I might as well just dive in and go straight to those questions, because this is what people, they want to know, you know? So if that works for you, I have several of those questions. And I love how this first one that I had prepared actually is a good segue from what you just shared with us. I loved hearing about playing and pursuing this solo career came from such a passion for the instrument, for the sound, for finding your own voice.

Starting point is 00:08:25 And Duncan had this following question for you. He writes, I listen to your shows as much in reference to my own practice as to my child's musical life. I wonder if you and your guests would dive in a little deeper to how you made the leap from a kid who learned an instrument to world-class professional. So I think that works really well for you, Tommy. Sometimes it seems like one of those cartoons where the professor is standing at the chalkboard with 100s of equations and says, and then the miracle happens. So can you tell us a little bit about what that looks like? What miracle happens? what it takes, not only in terms of practicing and experience, but also in terms of the things

Starting point is 00:09:10 that you need to think and believe to stay motivated when things get tough. And also some of the, you mentioned you have some agents, like what are all of these components of making it as a world-class professional? I mean, one of the, one of the best advice, pieces of advice that I was given when you're kind of I was on this path and like things weren't going exactly the way like I wanted to and like of course many musicians would say that right like that is a very common thought when you're in the music profession is that you know you have to withstand a lot of failures in order to find a success that's going to be something that will be career defining and I think one of the best pieces of advice that I was given in the process of of that whole

Starting point is 00:09:58 time period. And even, even now, I mean, like, you know, you achieve something, but then you're thinking about the next thing. And so the biggest piece of advice was just that what separates people who are very successful in classical music and those who are not as successful, I think is persistence. Persistence is a massive, massive, perhaps underrated quality and persistence through failure, right? Because everyone looks at, you know, people who are doing things, right? They look at the people who they look up to, they look at the people that they want to be in their position. And they think like, you know, they have it all going for them. Like, how is it that I don't? And how is it that I'm

Starting point is 00:10:41 not at that point? And the fact of the matter is no one sees the failures. No one sees the failures. And the growing that you can do through those failures is a slow, slow build up a giant mountain that eventually you find something that's a success that motivates you that keeps going but if you go to the next level and you find that failures are motivating that is the ideal if you can turn failure into a sort of like motivational component that gives you energy and makes you almost mad and that you want to like prove yourself and prove to the world that like this is something that like this this isn't the case this isn't like I can do better than this I believe that's a very crucial component in in making sure that a profession as hard as us as

Starting point is 00:11:34 the one that we're in that we don't become bogged down by those failures that we actually turn them around and create and you can see that on micro levels as well like in our practice right like if we find a passage that we feel is absolutely like insanely impossible until we treat that frustration as a sort of energy to turn into something that we can then accomplish and do and execute rather than kind of feeling like, okay, I'm going to give up and try again tomorrow kind of thing. Like, it's almost like you have to turn it around, like almost brainwash yourself to be like no no i can do this and like the fact of the matter is all of the great violinists the trellis whoever it is all great musicians they're just human they're human beings like yes

Starting point is 00:12:22 maybe some are more talented than others but they all contain a crucial component of persistence of not giving up and like that is a huge it's a very hard thing to kind of to do on a daily basically takes so much of you so much of your energy um but i mean if i think about you know that question that was the first thing that came to mind which is which is people see success and they think okay like obviously like this person you know had it coming all along and like that was just built into their future and like i don't think that's it at all i think like a lot of the time we just don't see all of those failures and a lot of those people who seem to have it all and to just be doing what they want to be doing there's so much failure behind a lot of what they

Starting point is 00:13:11 do and being able to conquer those things I think is extremely important and so patience is also another thing so the two p words I mean patience and perseverance I mean nothing is going to happen overnight you know like every single day getting up and practicing and like raising your standard incrementally incrementally that all leads to great things and you have to sort of have faith in that it has to be a lot of faith it's such a great answer and I love it because it's kind of a broad concept but it really wraps around everything and as you mentioned micro level and macro level so that persistence that keeps showing up in the practice room with all the failures that happen you know each minute the persistence to sign up for competitions to sign

Starting point is 00:14:01 up for auditions to email people and ask for help and like all of this requires this persistence this perseverance this patience that you talk about what a great answer absolutely yeah and like you know that that the process is there right if if you have someone who can help you through understanding the process then patience just sort of comes with that right because if there's a sort of reiteration that like this is not going to happen overnight and especially the new generation where everything we do is right away we can see a google answer right away we don't know something we just want to get it on the screen on the internet that builds into our system a sort of impatience that we aren't quite aware of sometimes and so making sure that we're actually like maybe

Starting point is 00:14:50 doing day-to-day things that require patience and then realizing that like playing the past just doesn't happen like like you do when you find a google answer it doesn't I mean it has to take days and days of slow practice before you can even tackle a passage at half tempo perhaps you know and and I it that kind of that concept is something I learned from Hans Jensen and I I absolutely you know I I worship him and I mean as I I worship all my teachers but Hans was a very crucial change in my mentality of like what it took to be patient, but also impatient with your progress, like patient with the slow work, making sure that you can be patient enough to bring it all the way down to like quarter tempo, even less than that. But having

Starting point is 00:15:37 then the impatience to, to like make sure that you're always pushing your limit. So it's an interesting balance. Yes. I love that, how it works together, that patience and impatience. Yeah. Yeah. These are all things that you know very well. I mean, as a wonderful teacher on your own, I mean, I mean, the things that you teach, you know, the students and like, it's such a, it's such a complex topic, you know, it's, but it's, but it's a fun one. there's a question I see here that I feel like works well with what we're just talking about from Helena she asks uh how you deal with resistance and what we're talking about now this persistence on the path to building a big career there's going to be resistance I think both exterior resistance but also from inward um how do you deal with this type of resistance yeah i mean there's many forms of resistance to what we want to do it could be within ourselves

Starting point is 00:16:37 you know it could be our potentially our like we're saying impatience potentially our lack of time in the day to like do what we need to do potentially it's external potentially it's you know uh maybe a parent or or a teacher that you know says you know the wrong thing at a certain time and like really gets you down and like there's external resistance as well there's also like you apply to certain competitions and you don't get what you want or you don't get an audition for a for your youth orchestra you don't get the chair that you want I mean there are so many different kinds of resistances that will no matter what level you are whether it's you don't get a contract with a label or whether you don't get the chair you want for a youth orchestra when you're

Starting point is 00:17:25 younger there's always going to be resistance and so if that component is always true then the only thing you can change is your reaction to resistance that's the only thing and so like if we wrap our minds around the fact that like it's not just people who are starting out that have resistance Jacqueline Dupre, Yo-Yo Ma, all of these people have resistance all the great violinists they have resistance in some form or another elisa weilerstein she's doing so many great things i'm sure she can list 10 things that are forms of resistance for her in her career and like i i uh i can list my own resistances and like while they may seem like you know ridiculous to people who are not at the same career path or or let's say level like they're early in their

Starting point is 00:18:17 careers then like that might sound ridiculous to some people but in the end like if we know that there's resistances, then we should look at ourselves and see how can we react? How are we reacting to those resistances? Is it in a positive way? Are we taking those things, like I was saying it before, as energy to then kind of prove to yourself and prove to the world, prove to your teacher, prove to your parents, whatever it is that they are wrong about you, right? That might not be the healthiest way, but it is actually like a method, right? And I found that I was doing that sometimes and um you know as a late starter i always found that late start as a form of resistance to allow me to achieve the goals compared to others that were playing since they

Starting point is 00:19:07 were three years old and that was a chip on my shoulder always and it actually in some ways maybe in the last few years i finally feel like i've gotten rid of it a little bit and that sounds crazy but like actually it's pretty recent that I feel like I'm over that but that's that was a huge form of resistance for me that actually provided energy for me it provided energy and motivation so are your resistances motivation is maybe a good question to ask and if your resistances aren't motivation then perhaps you know we can maybe try to get rid of resistance influences right i think getting rid of them is is potentially like a good solution but if there's something you can't get rid of you can't control the only thing you can control is your reaction

Starting point is 00:19:58 to them so i yeah i love what you're sharing because how can you make resistance work for you it's completely reframing your perspective on whatever resistance you're experiencing and I've shared with the listeners on the past few podcasts, the framework that I use with my coaching clients, which shows that it all comes from our thinking. So our thoughts create our feelings and our feelings fuel our actions and our actions create our results. For any set of circumstances, there's going to be some thoughts that are going to serve us. And there's going to be some thoughts that are going to injure us. So we can have these thoughts that are going to create this motivation that you're talking about so then how can we go about finding what those

Starting point is 00:20:51 thoughts that resonate as true for us are and nurture those and keep them close by and then identify those thoughts that they will come at us for sure we're going to have a lot of thoughts about any circumstance identify those thoughts that are not serving us that are killing our motivation and maybe put them aside for a little bit so i i love what you just shared about this Yeah, the idea of control that we like can actually like, and that's, you know, one of the goals of your title, right? It's like mind over fingers, like, we can actually control our thoughts in a lot of ways. Like, you know, when you're going to bed, for example, and like, you know, you're laying there, and then suddenly all of these thoughts creep in. and like probably a sleep therapist would tell you hey you can limit those thoughts you could actually just tell yourself to not think those things and you'll probably go to sleep same thing when we're practicing like if you have thoughts that are not productive not going to help your

Starting point is 00:21:53 motivation not going to add to your your uh your ability to accomplish what you want to do then whether it's micro or macro right uh long-term short-term like these are things that you can potentially identify and tell yourself I don't need to think those things um yeah and finding those things are hard but yeah also Hans was was a big component in helping me kind of mind control myself in some ways yeah it's the key to unlocking so much for us yeah yeah absolutely one thing you and i were talking about before we had this interview was the fact that you're going on vacation soon and i think we both agreed that that could be a good topic to talk about in terms of how you know talking about resistance sometimes we need we need a break we need to uh clear the

Starting point is 00:22:45 space the mental space the physical space can you talk to us a little bit about you know what is the importance for you to take this time and also after i'd love for us to discuss what do we do after a break because a lot of people talk about you know how to not feel guilty when you take a break personally I never feel guilty when I take a break yeah yeah but then so I'd love to for us to explore this area a little bit of taking breaks taking care of our health and um and then coming back to practicing after a break I have a little I've had in the past like allergic reactions to taking breaks because I don't feel like confident enough to like take a couple days off and then come back feeling like I'm not climbing up a mountain you know and so like I'm not I'm not

Starting point is 00:23:34 one of those people that can just you know take a week off come back and things are like fairly normal you know like I really need consistent daily work to like feel confident I mean I think that's oh that's most people but I think there are some people that we look at and are like they've just like they didn't play for two days and they still sound like really good and it's like yeah i'm not one of those people and like so for me breaks are like i'm scared of them i'm actually like physically like ill thinking about like taking breaks and i mean that's probably partially like due to like you know like some brainwashing in some ways by like former teachers and like you know part the other part is like that where i feel like i'm not gonna like

Starting point is 00:24:15 be at the level I need to be. And, you know, when you have concert after concert, it's, it's tough to even contemplate taking a break. So this, this break that I'm doing coming up in a couple of days, I'm going to Puerto Rico and it's going to be for about a week. And I'm, I'm, the thing is I'm bringing my cello. So, so I can't even, I mean, am I allowed to say it's a break? I mean, yeah, it will be a break, you know, because I won't be practicing five hours a day but i'll probably end up practicing like two or three hours a day you know like i i kind of like i need to just keep it going because like things in january like otherwise i would be like anxious about things in january coming up so it is a little bit of like a way of life that

Starting point is 00:24:58 you know it's different from other professions in a lot of ways you know like of course you know there are jobs that you work five days a week and then you have two days off five days a week two days off and then you have vacation days that add up of course and then you take those vacations and you don't think about work and uh we we can't we can't really do that because it just requires so much of us physically and emotionally to like do it so when you actually decide to do it it's for a purpose and like you know i remember recently uh you know i think it was a year ago i i didn't played the cello for five days I went to Canada I went to Banff and I just had a vacation and I came back to the instrument after the new year feeling like absolutely refreshed and like creative

Starting point is 00:25:47 and ready to go and I mean I don't think it's encouraged enough actually like it's good that we're like making sure that we're diligent we're persevering like we're dedicated but we also have to be good at saying like at a certain point there is value to not playing and stepping back because we listen differently we work differently and while it may be frustrating at first like oh I wasn't where I was actually it's good for the mind it's good for the mind to grow when you take a step back I mean my stepdad you know he always said to me when I was like doing homework in high school like you know just go for a walk if you're stuck just go for a walk come back you know after you clear your mind go look at a tree for five minutes you come back and you're already better

Starting point is 00:26:38 like you can just launch right into it and so that's like a bigger version of that and so i i think i'm looking forward to to being able to do like half practice days in puerto rico and uh you know being able to like sit on the beach and like actually have a good time um just relax and and i know that i'm going to come back very refreshed so i think it's important it's interesting because for me i feel absolutely no guilt taking a few days off but i think we each have to do what works for us so if someone wants to take a break and they want to not play they should feel free to do so. And then for you, if actually what brings you the most peace is to bring your instrument and still play, I think if that works for you, that's what people should do. Because

Starting point is 00:27:27 the thing is, for me, I find that when I step away and I don't play, it's exactly what you said. I feel that maybe some of the tension, mental tension and physical tension I had before the break is gone after and then I am able to sort of rebuild things monitoring you know because yes we don't feel quite as ready yeah I wouldn't go play a concert after a few days off but I do feel that it gives me a perspective to step back and and realign okay is this the posture is this the way to hold the bow is this my left hand grip and so I enjoy that part of coming back to it with the perspective that it gives me yeah and I think that for it too is that what kind of plan I'm going to have when I get back how much time do I have between the break in the next big gig

Starting point is 00:28:18 and the sort of re-entry what does that look like for you yeah I mean you know going from you know not practicing that much to practicing a lot and like aiming for stuff it's really important to make sure that you're not just launching into suddenly you know five hour practice days after you know having a little bit of a break i mean quite literally like you know if you go to the gym you know you can't just go from you know running zero miles a day to running you know six miles a day you can't just suddenly do a half marathon so you know what we do is so physically demanding that you really risk injuring yourself uh if you kind of come back at it like you know like just like going crazy like five hours a day

Starting point is 00:29:04 so you need to warm it up and even plan ahead so like have like a three-day warm-up period where you're incrementally doing like let's say two hours at most an hour and a half at most i mean so so coming back after a break i would say you want to be incremental in your return so like making sure that you're not doing five hours a day after like you know doing zero hours a day uh that's important you know just making sure you're doing two hours and maybe two and a half from three, incrementally increasing by like 30 or 45 minutes every day. I think that's important just to make sure that you're not, A, not going to injure yourself and B, just making sure that you're warming up your mind, your mental capacity as well. You know, you're kind of awakening the

Starting point is 00:29:52 dormant concentration mind, right? And so it's good to just warm things up in many different ways. yes I love that great strategy yeah Tommy how about a round of rapid fire questions before I let you go sounds good so for the people who are dreaming of a career that resemble yours can you tell us a little bit about what your life looks like uh yeah I mean I I spend a lot of time in hotels and I'm I'm very good at memorizing my hotel number uh it's gotten to the point where I like am very good at that and physically knowing where the hotel room is uh I you know I have gotten packing strategies that are that are really nice I've got some nice nice packing materials like little containers and compartments um but my life

Starting point is 00:30:41 is essentially just recording practicing and playing concerts and um I'm grateful for that And it's definitely, like, you know, been a, you know, not a lot of time for, like, personal life. And that's something that I'm finding a better balance, I think, every day, which is definitely, like, a good thing. But, you know, the more I'm, you know, able to do that, I think the better I can do my job. And so it's definitely, that's kind of a summary of what I do. And then I play tennis sometimes. I love tennis it's good to find that balance and I know that you have a lot of really great practice videos on your Instagram so I'll make sure to share the link in the show notes of where

Starting point is 00:31:29 people that's great people can find you there what skills do you think young musicians studying today should acquire in addition to play their instruments I mean social skills social skills is like a major I think component of our profession I mean yes if you can practice well yes if you can execute on stage it's all great but if you don't socialize and be a good human being to everyone involved with the presenter the manager everybody that you're interacting with on a daily basis your colleagues being respectful and being uh being empathetic right Like these are all things that are very good qualities in our profession, because we, even though we have a solitary component to our profession, it's also very social in a lot

Starting point is 00:32:23 of ways. And people remember those social interactions. And so the more you can kind of wrap your mind around being a good person to work with and what that really means is a really great, it's a really great thing. I love that. How about a favorite tool in the practice room? My recording device. So what I do is I record on my phone with a little like external mic that plugs into the lightning plug and the lightning charger. And it's an MV88 made by Shure, S-H-U-R-E. And I love it because it's very small, works on the road really well, and it has a very good sound. so mv88 is the is the maker of that sorry not the maker but that's the yeah it's great i wrote it

Starting point is 00:33:16 down i'm gonna put it in the show notes and i'm gonna buy one right when we get off this cool that's great finally how about a quick actionable tip that the listeners could implement this week in their practice room um you know one of the things that i emphasize to my students is that uh what we think we sound like versus what we sound like is potentially there could be a rift between those things or it could be joined but we don't know that until we record ourselves regularly and so i would encourage anybody listening to to why don't you incorporate recording yourself not just one time in a practice session but twice and after recording yourself twice listen back to it and take notes and that is one of the most useful things I've found in

Starting point is 00:34:09 my practicing is once once I get used to recording myself and listening and getting past the whole like oh my god I'm scared of listening to myself thing then you start to develop a taste for what you want in your playing and look for that without your recording device so you're essentially putting you're taking off your ear and putting it in the corner and being your own teacher which is a ton of skills that we need to do to be in this profession so i i personally love recording and just improving through that i love this this is so great tell me tell us everything that's coming up for you you've mentioned a few things already but uh what can the listeners be on the lookout for and also where we can find you yeah um well you can find me on social media like

Starting point is 00:34:58 instagram my handle is tommy j mesa and facebook artist page is is just thomas mesa cellist and uh you know there's a lot of wonderful projects i'm looking forward to like i just recorded an album with michelle can uh pianists of all new music uh by black and latinx composers and we're just absolutely excited you know so excited for the quality of the music uh first and foremost and like absolutely you know it was a huge process we had like you know 300 submissions of scores and we picked five and so we recorded those in the last like five days or so and so we just finished that and that'll be released probably in several months maybe a few months um and then of course this thing with the gramophone uh you know with sphinx virtuosi i'm

Starting point is 00:35:45 recording jesse montgomery's first cello concerto um called divided and that's just like a really gorgeous piece and you know that's really exciting too um but you know other performances coming up like with the new san antonio symphony san antonio philharmonic actually it's revival um looking forward to that and and you know lots of other you know recital concerto tours and it's just going to be very very fun season so um yeah that's that's pretty much a lot of what's going on these days but yeah follow me on on the socials and we can keep in touch and also like i'm a huge i'm a huge fan of like making sure that people feel open to talk to me one-on-one on any of these social media platforms like if they have any questions about anything career-wise or you

Starting point is 00:36:34 know really anything you know i'm happy to be open to answering any of those things i might be a little slow but i will do it fantastic tommy thank you so much for being on the show today. I really appreciate your insight and your take on things. And I know that the listeners are going to find so much inspiration. Thanks. Thanks for having me. Really, this was fun. Thank you guys so much for listening. I hope you enjoyed this episode of the Mind Over Finger podcast. If this content was helpful for you, please share with everyone you think could benefit from it. Take a screenshot, share on social media and tag me. I'm Mind Over Finger everywhere. So

Starting point is 00:37:23 reach out, send me a DM and let me know how this content helped you. Let's keep the conversation going. As always, I have all the information related to this episode in the show notes. You can find them via your podcast app or by visiting mindoverfinger.com where you can also find more free resources on efficient practice and performance preparation, links to sign up to my free workshops, and information on how to work with me. Don't forget to sign up for my newsletter to receive your free guide to a productive mindful practice, transcripts from the Mind Over Finger podcast episodes delivered to your inbox every week, and more. Also, join the Mind Over Finger Facebook community, my private group, for access to my live videos and to exchange with a community

Starting point is 00:38:15 of like-minded musicians. So make sure you're subscribed to the podcast. And if you have specific questions for me or my guests that you would like answered in an episode, share them with me using the link in the show notes or send me a DM on Instagram or Facebook. That's it for today. Again, thank you and à bientôt! Thank you.

The Mind Over Finger Podcast - 156 Thomas Mesa: Process, Patience, & Creativity

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