Avoiding nervousness during performance

[presto agitato]

Hello

What do you do in order to avoid nervousness during your performance?
Hom many times do you play a piece before you play it in the recital?

Thanks

[keyboardclass]

It's how not how many.  Make sure you know left and right hands separately.

[birba]

A certain amount of nervousness is normal, and even beneficial at times.  You never get over it, you just learn how to cope with it.  Look at Argerich.  You'd never believe it, but she dies a thousand deaths before every performance.  
Someone once told me that nervousness is in direct proportion to how well you've prepared the music.  The more you're prepared, the less nervous you are.  I can never play anything in pubblic if it hasn't been studied and put aside at least 3 times.  I also drink a glass of wine about 15 minutes before playing.  Just enough to "cool out".  

[mistermoe]

how to avoid/reduce nervousness while performing:
performing more often (i was always told so and i couldn't believe it, but it's so true)

And something that always helped me:
my plans for concerts always include going to a restaurant/bar afterwards.

program might look as followed:


3 scarlatti sonatas
beethoven sonata op.14 no.2 and op.106
liszt sonata

-- intermission--

Bach prelude and fugue c major (book 1)
Sorabji: O.C.

encores:
minuet from anna magdalena's notebook

-- shaking hands/always smiling, use of the words "thank you" a lot, then changing --

a cool beer
pizza with a lot of cheese
more beer
grappa



(that's for the italian restaurant version)

for me this works so much better than trying to relax the days/hours before the concert.
when i'm dying of panic i try to focus and look forward to that last part of the program. this for me is almost as important as preparing my pieces for the concert. it's like the reward for the work and torture before concerts.

[Bob]

There is other information on the site -- practice performance, prepare well, and all that.

Two big ones that come to mind now.  Don't care about the performance.  I've found that works pretty well, except for if you really don't care about the performance.  It's a strange side effect of a Zen thing I read a long time ago.  Let things happen, don't make them happen, don't care about the result.  It works but I'm not sure really not caring about the performance is the best thing.  Although, it's usually not the end of the world if a performance isn't great, at least for me.  I guess I'm looking at the longer picture of things.

Have other things planned.  I've had a few situations where my performing was one part of something else.  The rest of the time I had other things going on.  There wasn't time to think about my own performance much.  So not much for nerves that way.  For some reason it helps me if I know after the performance I still have x, y, and z to do.  Something about making the performance less of a priority I suppose.

And a third one -- Accept your performance the way it is.  By the time of the performance, it's too late to change things much.  How you sound it how the performance will be.  Don't expect to sound perfect or better than you have, esp if you haven't practiced things up to that point.  (It is a good time to take notes on things to improve in the future though.) 

[birba]

Also, pick a programme that is made up of 2/3 to 3/4 music already tried out in concert.  The rest, things you've never played in pubblic before.

[lackofmasik]

To relax, i always think that nobody is watching (although most of the times donīt work)

But i played a lot of concertos and solo pieces, that nervousness is a thing that desapared from me,

[lostinidlewonder]

......
Sorabji: O.C.

encores:
minuet from anna magdalena's notebook

Lol, that has got to be one of the greatest contrasts in difficulty I have ever seen


To avoid nervousness ensure that you can do your concert program at home without stopping every day at least 1 month before the concert date. Record yourself and listen to the results. Treat the recording like an audience listening to you, pressure yourself that you cannot make a mistake or stop. When we simply practice without pressuring ourselves to be accurate this does not give us much confidence for performance. It is also very important not to play pieces that are too challenging for you, but this depends on your risk taking personality, but predominantly the program should be pieces that you feel comfortable to learn without mount Everest hurdles to overcome.

Roman Chamomile pure essential oil also is very good to calm your emotional state. I like this natural solution but it is extremely expensive.

[nearenough]

It's hard to believe but I have successfully on about 5 occasions and once not so well, performed some daunting (for me) things, but was not able to suppress extreme nervousness bordering on panic before and even during the act.
I played Rachmaninoff's Prelude in C# minor for grammar school graduation; my father said, "pretend you are only playing for ONE set of ears -- after all that's what each member of the audience experiences -- one set...." so it worked. I got through that performance.
Later on I played before moderate local audiences (Chopin Scherzo 2, Some etudes, a Rachmaninoff Prelude Op 33) and strangely was able to get through it (I am NOT a musician and am in another profession, now retired).
I played in several talent shows on cruises, and remember doing the "Revolutionary" etude and wondering whose arms were playing before me!. On another occasion I got lost midway, quickly started over and did the ending and no one noticed.
That's largely the issue sometimes. People just are not that familiar with the music, so this may allay some of the fear.

[phillip21]

Easier said than done, but the best way to avoid nervousness in performance is somehow to sell yourself the concept that the process is a job of work, like touch-typing a letter.  After all, that has to be what the 'A-list' pianists who tour the world playing the same concertos and recital programmes do.  If like me you do repetiteur and choral accompaniment work it is the approach you have to take all the time.  That does not mean in any way that you should play in a routine manner, or lose focus on providing what you would want to hear if you were in the audience.  Nervousness can sometimes be allayed by minute attention to detail.

[Bob]

Another thing I've found helpful, though not quite nice, is what I think of the audience.  If it's music people, I'd be more nervous.  If it's just Joe Blow off the street and if the performance isn't that big of a deal, then I'm a little more condescending -- These people don't care and won't listen, will probably oo and ah over anyone who touches the keyboard, the music I'm playing isn't that great, etc. 

It lowers the nerves and the expectations for the performance.

[richard black]

What's nervousness?

[lynnequintana]

It's natural though to be nervous at first but have a positive mental attitude to control this. Believe in yourself and you’ll be confident as well as succeed in performing. I know you can do it! Best of luck!

[braintist]

I am not sure about your type of nervousness and the bad types of nervousness is always due to the knowledge that you would fail. But I believe you can group nervousness into 2 groups. The first type of nervousness is that you get scared sh*tballs and shiver till the point you make mistakes when playing notes. Another causes you to forget your pieces. Sometimes nervousness is a result of bad technique and fear of not executing the perfomance well. Depending on the individual nervousness may not be neccessarily not bad and could be beneficial, but for me nervousness is the very first step to major screwup.

My solution is to just constantly practice the piece till I am extremely familiar with it. Another method I tried and worked (very well) is to convince myself I am too awesome to fail and went on an ego maniac spree and I did not feel nervous at all.

[birba]

I keep telling myself, too, that being a little nervous is a good thing.  Too bad I can't convince myself.   Last month I played in Nagasaki - I had never played in this hall before.  When I went to try the piano the day before, I sh*t in my pants when I walked out on the stage.  It had a capacity of 2,000.  Needless to say, I could not sleep that night.  This was my first concert after the operations I went through, and I had never ever played in a hall so big.  It was awful.  And of course, everything there is so organized and there are many people working for you, and you feel like this is it, I'm going to screw it, people are counting on me, sh*t sh*t sh*t, etc. etc. etc.  This is NOT the good kind of nervousness.  BUT, when I went out, the light was only on the piano and you could not see anything beyond a curtain of darkness.  And the Japanese pubblic is so quiet, I felt like I was playing for myself.  A really odd feeling.  That was when I felt the GOOD kind of nervousness.  The one that doesn't screw up your memory or technique.  But that other one...no way is that good.

[avguste]

Being nervous is part of what we do. It is part of our job description. Whether we want to admit it or not, no matter how much you perform, you are always a bit nervous.
The issue is to control that and turn it into positive.

Personally, I use a very simple method which works: breath deeply, close eyes, look up and think positive. And I do that long before the performance.
Also, practicing helps make you comfortable. The more you know the piece, the more comfortable it is.

I would suggest you read the book "Lessons with Kumi" by Michael Colgrass.

[carbe]

It can also be good to know the situation before you play. Personally, I'm much less nervous if I have the opportunity to play the song on the actual place where I'm going to play, just before the performance. It makes me safer.

[sonatainfsharp]

The only thing that has ever worked for me is just to perform more often. Simple as that.

Knowing a piece inside and out wouldn't help me anymore than performing a piece I hardly knew at all when it comes to being nervous.

But, when I was performing 3-6 times per week for whatever reasons (different music, didn't matter), then I was never nervous. But playing every few months would kill me, no matter what.

[birba]

I WISH I could perform every few months!   

[chopinsmaster]

Personally I've never a whole ton of trouble with nerves, but I still had some nervousness the first times I played in front of people. Really, I've found that for piano and other things, the best way to get rid of nervousness is simply to play in front of people more often. You will gradually get more used to playing in front of other people.

[m1469]

Last night, I had an epiphany regarding this.  I realized that most my *bad* kind of nerves stem from feeling like I can't just be myself, for one reason or another.  And, there are a few main reasons I would feel that way.  I think though that I'm coming to a place of being able to better be myself, even when somebody's really paying attention and realizes the difference  .

[birba]

I know what you mean.  There's an element of self-consciousness when I play.  At least at the beginning.  As if I'm sort of embarassed to be doing this. 

[m1469]

I know what you mean.  There's an element of self-consciousness when I play.  At least at the beginning.  As if I'm sort of embarassed to be doing this.  

haha ... yeah  .  Even I blush sometimes and sometimes the self-consciousness has been much more than a beginning thing.  For me, sometimes there's been that surface thing, where it's a little embarrassing, but then there's also been something very deep, like I have to hide my deepest self from people.  There's a pretty good reason for that, probably, but gradually anyway, that inclination is falling away (actually, quickly, when you think about it).  In any event, that's been on my list.

Another one though is I've needed the experience and technique to support what is inside of me.  Sometimes I would muster the courage to let my deeper self come out, and my hands and fingers would completely fall apart at the piano.  However, when I hold back, there's always a feeling of discomfort.  In either case, my experience would be somehow thwarted.  And, sometimes there's been big battles where my deeper self is like pushing with all its might right behind my skin and bones and stuff, but my skin and bones are scared to let go.  That's never been a real wonderful experience, either.  I think that's eventually smoothing over, too.

There's also though the issue of audience "energy".  It's one thing to deal with the music and one's self, then it's still a whole next step to deal with the energy of the audience.  That can give a whole bunch more to shove through the system!  And, I suspect that sometimes what feels like our own nerves is actually just a hyper sensitivity (which I can be) to extra energy from the audience.  It takes a bigger embrace .  I'm just learning that more clearly.

[fleetfingers]

Last night, I had an epiphany regarding this.  I realized that most my *bad* kind of nerves stem from feeling like I can't just be myself, for one reason or another.  And, there are a few main reasons I would feel that way.  I think though that I'm coming to a place of being able to better be myself, even when somebody's really paying attention and realizes the difference  .

I know what you mean.  There's an element of self-consciousness when I play.  At least at the beginning.  As if I'm sort of embarassed to be doing this. 

Yes, this is how I am. I am often too self-conscious to give an honest performance and be comfortable with my own style and interpretation of what I'm playing. I always play better when it's just me in my living room than anywhere else. That is where it's easy to be myself.

[pianisten1989]

Maybe I'm not the one to talk, cause I get really nervous before concerts (and actually wants to quit playing). But once I've played the first note, I totally forget the audience and all nervousness is gone.

I think it's all about knowing the piece. Play it in your head, Every note, both with and without music.
Tell yourself that you've played this piece, and that you do know how to play it.

That's what works for me.

Good luck

[claude_debussy]

Warm up playing pieces carefully in the green room up to the minute you go onstage.  Then your playing is a continuity - just keep playing as you have been, with the audience present. 

This has worked extremely well for me, and nerves have been a problem in the past.

Point is: stay in the mindset of playing, the continuity of it.  Don't sit there and let yourself get neurotic about it all - stay focused on the matter at hand, just playing. 

Second tip: repeated experiences performing always make it easier.  Always try to repeat a recital or performance several times, if possible.  Each time, your natural mastery and preparation gain confidence.

Finally: superb preparation is the best cure for nerves, no matter what else. 

Remember, Rachmaninoff's stage fright was so bad that he had to be pushed onstage by his manager.

So nerves are natural, everyone has them. 

Stay in the idea, imagine the kind of sound you want to present, hear and foresee the music as you visualize performing it before going on.  Tell yourself 'This is how it will go."

And it will.

good luck,

Claude D.

[m1469]

Yes, this is how I am. I am often too self-conscious to give an honest performance and be comfortable with my own style and interpretation of what I'm playing. I always play better when it's just me in my living room than anywhere else. That is where it's easy to be myself.

Yeah, I know what you mean.  But, I wonder right now if really that's just where I'm most used to being myself?  And, even still, I've had much more musically meaningful experiences NOT by myself in my living room.  Actually, my most meaningful experiences have always involved at least one other person!  It was actually extremely difficult for me to graduate from University in part because suddenly I was just at home in my living room, all by myself, when I had grown very accustomed to being surrounded by music and knowing in the back of my mind that I could be heard in the practice rooms.  Sometimes I still miss that very much, actually.  Recently I visited a school and just sat in a common place outside and just listened and soaked it in... ahhhhh.

Anyway, I would like to find a good "space" for myself on stage/while performing for at least one other person (though that all may take various forms for awhile).  That is my dream right now.  I have actually zero desire to stay alone in my living room for the rest of my life.

[carbe]

I borrow the thread with one question...
I played at a concert today... and I wasn't very nervous before the concert. But when I started to play, my right feet started to tremble. And it didn't stop! It was some form of reflective. I was convinced that everyone saw it, but they did not luckily. But it bothered my pedal technique and my playing.
This has happened before. Not when I play with the band, but when I play solo or accompany a singer myself. How to stop this? Please give me some advice.

[birba]

If it didn't affect your performance, and no one saw it, learn to live with it!

[carbe]

If it didn't affect your performance, and no one saw it, learn to live with it!

It did! It's hard to play with a trembling foot. It's hard to control the pedal and it takes focus from my head. I can't think clear when the foot is holding on.
And I've lucky that noone saw it. If you sit closer to me you will se it, and it's looks like I'm really nervous, but I'm not.

[carbe]

It did! It's hard to play with a trembling foot. It's hard to control the pedal and it takes focus from my head. I can't think clear when the foot is holding on.
And I've lucky that noone saw it. If you sit closer to me you will see it, and it's looks like I'm really nervous, but I'm not.

[rafant]

Best advice would be: move your focus from yourself to the work of the composer. That is, donīt try to impress anybody by showing your abilities. Only try to present the composerīs music the best you can. Donīt think "Hey, see how good I am", but "Let me show you how beautiful or incredible is this music".

[m1469]

It did! It's hard to play with a trembling foot. It's hard to control the pedal and it takes focus from my head. I can't think clear when the foot is holding on.
And I've lucky that noone saw it. If you sit closer to me you will se it, and it's looks like I'm really nervous, but I'm not.

Yes, this can be very distracting for you and possibly for others if they do notice, I think.  This happens to me in one way while singing (especially sometimes in performance) and especially recently while playing (even in my living room).  I think the good news is that it means you are actually feeling the music in your whole body, which can feel like a very powerful force, and I think it's a kind of resonance, actually.  I've felt it to where my entire body trembles from my core and from my toes to head, both while singing and playing, but I am lately getting extra energy stored in my left leg while playing, and it's lately trying to have its own life ... haha.  At first, with my left leg, I thought maybe it wasn't actually a big deal, but my teacher reminded me that it is actually dispersing the energy away from the sound.  I thought that perhaps that was mainly a nice theory, but then the moment I stopped it and it had nowhere to go but into the piano, the difference in sound was like night and day to me.  

I'm still working the left leg thing out and as I just came from the piano and had that very experience, I still think it's a form of holding back, even if not the surface kind of nerves.  For me anyway, it seems linked to still a deeper fear to really let myself play fully ... either not sure what will happen to my playing if I do, or not sure if it's okay.

[mcdiddy1]

You don't avoid nervousness. Everyone has it to some degree. Read A Soprano on her head by  Eloise Ristad . It is a wonderfully written book about musical performance. In the book she suggest being aware of the symptoms of nervouseness and to attempt to increase the symptoms. At some point the symptoms subside because the body can only reach a certain point. It has some really fasinating ideas ...you would probably like it

[birba]

Also The Inner Game of Music by Barry Green who was a bass fiddler.  He wrote this book with Timothy Galway who wrote the famous The Inner Game of Tennis.  Great  book.  Lots of "tricks" to deal with concert nervousness.

[carbe]

Yes, this can be very distracting for you and possibly for others if they do notice, I think.  This happens to me in one way while singing (especially sometimes in performance) and especially recently while playing (even in my living room).  I think the good news is that it means you are actually feeling the music in your whole body, which can feel like a very powerful force, and I think it's a kind of resonance, actually.  I've felt it to where my entire body trembles from my core and from my toes to head, both while singing and playing, but I am lately getting extra energy stored in my left leg while playing, and it's lately trying to have its own life ... haha.  At first, with my left leg, I thought maybe it wasn't actually a big deal, but my teacher reminded me that it is actually dispersing the energy away from the sound.  I thought that perhaps that was mainly a nice theory, but then the moment I stopped it and it had nowhere to go but into the piano, the difference in sound was like night and day to me.  

I'm still working the left leg thing out and as I just came from the piano and had that very experience, I still think it's a form of holding back, even if not the surface kind of nerves.  For me anyway, it seems linked to still a deeper fear to really let myself play fully ... either not sure what will happen to my playing if I do, or not sure if it's okay.

It was really interesting to read what you wrote. I think you've right, because I love what I do. I love to play piano and I really love music, and it's a very important thing in my life. So maybe that's why my leg "lives it's own live" sometimes.
But I didn't really understand everything that you wrote (sorry, I'm from Sweden). How did you stop your leg from trembling, and do you think it's good to do it, or does it take the energy away?

[m1469]

It was really interesting to read what you wrote. I think you've right, because I love what I do. I love to play piano and I really love music, and it's a very important thing in my life. So maybe that's why my leg "lives it's own live" sometimes.
But I didn't really understand everything that you wrote (sorry, I'm from Sweden). How did you stop your leg from trembling, and do you think it's good to do it, or does it take the energy away?

Well, I don't think it works to try to stop it, exactly, I mean, you can't suppress it I don't think.  If it's really just "extra" then it needs to go somewhere or it's going to cause a problem.  Somehow you have to saddle it .  It's not actually coming from your leg or wherever else it shows up, it's coming from the experience and while there's a definite element of the music being in charge, somehow we have to be capable of riding that, no matter how big it is (like a wave in the ocean).  Meh.  Finally in my life I can actually somewhat understand and explain certain experiences I've had, but to write it all out ... meh.

Anyway, for me it reaches some kind of "critical" point where I have to make a big decision and either everything stops or I cross over into another realm.  Sometimes there's a bit of time though of inbetween-ness, like purgatory or so .  I figure I'm not making much sense right now.  I have no recipe at all, but there's something like a bigger embrace of the situation where everything relaxes and you can ride even a huge wave.  There's just some kind of letting go or getting bigger ... or something.  I don't know how to explain it.  I've also kind of smacked on my face though, too.  meh. (ouchy ... ouchy ... ouchy ...  ).

Strangely, a singer is not "supposed" to listen to oneself in the same way a pianist is hounded to do.  A singer is supposed to feel with their body how everything is going, and that's what the singer is supposed to "get" to experience, while the audience gets the sound.  In piano playing, sometimes it seems that when I listen better, harder, deeper ... or something, the body just kind of complies.  And, generally, yes, I think it can definitely disperse the energy away from the sound and take away from it, but I'm certainly not ready to live by a hard and fast rule (there has to be some elasticity!).

Bye bye for now .