Boundaries: Notating Our Lives

Written music is perhaps the best example we have of clearly communicated boundaries. At the beginning of a piece of music, there is a clef, a key signature, and a time signature. These things exist so you’ll know what to expect and what is expected of you. All of these things communicate to those reading the music when to start, what to play or sing, how high and low to go, how fast to go, when to create sound, when to rest, when to repeat, and when to end. If it were not for notation, there would be chaos in large groups performing music. Everyone would be doing their own thing, and nothing would sound cohesive. The enjoyment of the performance for the performers and the audience would decrease significantly. The same is true in our world. If boundaries do not exist, there is chaos in our lives.

This is true in our professional and personal worlds. Boundaries notate for ourselves and others, telling us how to exist and communicating to others how and when we will show up. If boundaries don’t exist, we just leak over into spaces that are not meant for us, and others leak into us. Everything ends up diluted and weak. The inverse is true as well. If boundaries are present, we can stay strong and clear, ready to do the work we have been assigned to do with power and precision.

Instrumentation and Clef: Roles and Skills

When considering what boundaries to place in your life, let’s think about what roles you play for yourself and others. Define what those things are and what they are not. Consider those roles as your instrumentation and clef. When you pick up your instrument and read music defined within a clef, there’s a limit to how high and low you can go. Those limits are expected and okay. Stay within your designated range. Say no to things that are outside of that range. We could define instrumentation as your job description. Define what your job is and what it is not. You can do the job you were hired for within your skill set. If you are being asked to do something outside of your job and skill set, such as teaching theatre classes and music at the same time, you may feel unqualified or stretched too thin. You would be working outside your instrumentation and clef. You cannot be a violinist while reading the score of a string bass. If you are expected to do something out of your abilities and skill set, there’s only a limited time you can use the extra energy and focus that will be required before you burn out.

Key Signature: Transitions

When we consider key signature, you cannot play in a minor and a major key simultaneously. Teachers are notoriously expected to multitask in a superhuman way. Multitasking is actually a lie and is not truly scientifically possible. What is possible is to utilize accidentals and modulations to modify what you do as you go along. These are transitions that make it possible to go from one thing to another. That’s how it should work in your life too. Consider how much you are required to modulate throughout your day, and try to minimize modulations so you don’t wear yourself out.

Time Signature & Tempo: Pacing

Now let’s talk about time signature and tempo. Time signature and tempo give the spice to life. To me, this represents the culture, flavor, and temperament of our lives. A 6/8 time at a presto pace feels incredibly different than an adagio piece in 4/4. Some of us, myself included, are just adagio people. If I go presto, I miss things and don’t do quality work. Sometimes my culture demands a time period of “presto,” but when I do that, I know the piece of music I am playing needs to be short and sweet, with an additional resting period afterward. There are truly people out there who can do great work for a long time at a “presto” pace. I am amazed at those people but understand I am not one of them. Some people need big spurts of “presto” to feel energized and motivated. Ask yourself what stride you feel like you can pace yourself. What gives you the most endurance and longevity? Then, do that most of the time.

Lastly, there is form and structure to music. Repeats, codas, etc.…tell us where to go and when to end. If we allow ourselves to live with no defined ending time, no structure or form to our lives, we just become just one long run-on piece of music. We’ll keep playing long after the audience goes home. The one who ends up exhausted is you, without applause or appreciation. When you are tempted to keep going and going, think of this ending result. You could end up on stage, wanting to take a bow, wondering why no one is left to give you a standing ovation.

So, do yourself a favor and take a minute to consider the piece of music you are composing as your life. Define the instrumentation, clef, key signature, time signature, and form of the piece you are creating. Trust yourself and learn how to communicate these things to those around you. I believe the most beautiful pieces of musical art our lives create are when we are living within these centuries-old, trusted ways of notation and definition.

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