Future Pacing and Meta-Future-Pacing - NLP Chat

No matter where you perceive your skill level, there is always more. Jonathan not only cuts diamonds, he polishes them, and adds more facets."

Jonathan is a superb trainer and communicator. I am thrilled to have participated in his recent Seattle Linguistic Wizardry workshop. Jonathan has a way of transferring knowledge with such ease as to include everyone - regardless of prior training or NLP experience. I was in awe watching how Jonathan managed to reach everyone in a different way - while constantly keeping the entire group engaged. I've now got a renewed excitement for practicing my NLP skills, and am more eager than ever to keep it working for me. Although I thought my coaching calls were great prior to attending LW, soon after my training - I found my calls to be more fluid and effective. The words seemed to flow much easier and my use of embedded commands are more natural and useful. I also am better able to focus my attention on understanding the style of my clients patterns - without losing focus on the content of what I'm teaching. It has all been such a natural process that I'm eager to see where it will be most effective next.

Through this experience, I've gathered many things that I did not have before. I am able to see things, and see them from new perspectives. I have learned and am still learning how to improve both myself as well as those with whom I come in contact. Things I have just described are somewhat vague in description yet very profound to me. I owe much of this trance-formation to Jon for providing the tools and facilitating the use of these new tools in a positive direction. Thank you.

Your CDs arrived safe and sound. I've listened to the first two and worked on the exercises. I'm a 55 year young, professional principal french horn player and have been working in a top German symphony orchestra for the past 30 years. I listened to the bonus telephone interview today. I am blown away. The results, applying your voice exercises to my playing (and to my students) are phenomenal. Resonance plays a huge role in performing on a brass instrument and very few poeple understand much about it. I've picked up useful and practical information, from singers and voice coaches, that I've been able to adapt to brass playing. Explaining resonance is now easy using your nose, mouth, throat etc, approach. The killer though, is using double resonance. I have free at present and don't have to perform in the orchestra (and the hall) until the beginning of Febuary. However, I am itching to hear how my changed sound is in our hall. It has to be amazing. Your material has added wonderfully valuable understandings to my comprehension of what constitutes excellent quality brass player and has beautifully simplified my means of effectively communicating it to my students. There has been a lot of belly laughter, stunned ears and broad smiles in my teaching studio this week. I'm teaching a course to amateur wind and brass players next year and am looking forward to applying your teachings to this particular situation for the benefit of the people attending. Thanks a million. This is one of the few times in my life where I've been gladly reeling and with a huge smile on my face.