Lessons from Dustin Johnson the Golfer

My most recent GOLF DIGEST has a great article on BECOMING A COMPLETE PLAYER by Dustin Johnson one of my favorite players.  Some of the observations I have picked up are WIDE STANCE, WIDE ARC, MASSIVE UPPER-BODY ROTATION (turning both shoulders and hips-though hips aren’t recommended by some), RIGHT ELBOW “jammed” into side for lower body leading, IMPACT DEAD SQUARE, BODY KEEPS ROTATING, end BALANCED, body FULLY RELEASED, RIGHT SHOULDER CLOSER TO THE TARGET THAN THE LEFT.  After reading this, I have watched Dustin on recent tournaments put his writing into practice, and it’s really helping me with my game, at least feeling like I know more about what I’m trying to accomplish.

I shared this with the choir the other night, how everything relates, how principles learned in one interest can transfer to another, in this case as they become COMPLETE SINGERS.  We talked about singing (whether sitting or standing) with a collapsed posture will produce poor tone, body fatigue and pain.  We were working on the traditional Stainer GOD SO LOVED THE WORLD.  I asked for a wider than normal stance, weight evenly distributed, scaps retracted, head high and straight, big deep breaths from stomach, and support from the feet pushing upwards do help the breathing from the diaphragm, with chin down on high notes for a beautiful rich AHH based tone.  We talking about the piece moving forward in phrases, with gradual crescendos and de-crescendos though always aware of the micro-beat.  We determined the goal or “APEX” of the piece where we would move to.  We discussed soft passages having the same intensity as the energetic loud passages, just lessor volume.  We eliminated hard “r” sounds.  The result turned out pretty good!  The piece, though older in style, was effective and brought John 3:16 to the worship in a vital way.  I also imposed an “orchestral program” on the piece, asking the singers to imagine they were performing the piece as string players drawing their bows across the strings, controlling their tone.   

I played for worship at the organ console a couple of weeks ago (normally I direct, not play) and as I planned the program I thought (Dustin Johnson again) about being a COMPLETE PLAYER.  First of all, sitting up straight at the console, not slouched, with scaps retracted and torso at 90 degrees, with knees together for pedaling.  I thought about playing the keys from the key surface with precise motion and controlled movements between manuals.  I programmed pieces with contrasting and interesting stop changes maximizing the colors of the organ to draw in the listeners.  Foundations, Full Organ, Brass, Timpani and Cymbals, Harpsichord and Strings for All Hail the Power prelude.  Hymn verses for the singing of All Hail the Power on Foundations, Orchestral String Ensemble, Choral Ahhs with Chimes in Pedal, Full Organ—all for a refreshing variety!  Offertory on lush strings, English Horn, Chimes, Vocal Sounds. Finally, the postlude Bach Sinfonia to Cantata 29, on pure organ tones of Full Reed Chorus, Principals with Mixtures, Fountations, and Harpsichord with Orchestral Strings. 

So whether golf, or swimming, or music making, I’m wanting to think of being COMPLETE with stance, balance, line, strength, color, grace, direction, communication, rotation, and lots of other attributes.  I LOVE how things relate!