How do manage with stress?

[krajcher]

Hi everyone!

Today I performed on a school concert, my first since I was 12 (now I'm 23). I played Invention number 8, which I play perfectly (I played it hundreds of times). I felt quite comfortable before my turn to play.

But during my performance my hands were shaking, so my playing was average, because I didn't have enough control.

What do you do to reduce stress during performances?

[smori]

In my experience, the best thing you can do to reduce stress is practise performing as much as you can. Playing in concerts (solo/chamber), performing for friends/parents/teachers, playing in front of the camera, playing in competitions/masterclasses - all these can help you to get used to performing and tame your nerves.

[Bob]

And think you're way out of it.

I find a lot is expectations.  Do you think it's supposed to be played on a higher level than what you're playing? 

There's whether you've made progress and put good work into it and then there's how the outside world would judge it.  You can always win the first way -- If you worked on it, you've probably progressed.  A win.  It still might sound so-so though which wouldn't be great from the outside.

Then there's whether you care about the opinions of the people who listen.  Do they know anything about music?  Do you think they do?  Do you care what their opinion is?  Do you already know what their opinion is or what they'll say? 

Before the performance, you already know how the performance will go.  It's not really a surprise.  Or if it is, you can plan it out better the next time -- Don't play a piece that's that difficult. 

And there's praticing performing and all that.

I've found it can be narrowed down though to why you're there, what you want out of the music, etc.  For myself an actual performance doesn't matter so much.  It's nice to capture it with a recording.  That lasts.  The performance is gone right away.  The audience compliments and then leaves.  I don't really care what they say anymore.  Which makes a performance not so much of a big deal.  If I've practiced the piece up and recorded it, that's good enough.  Audience there or not.  I "win" either way. 

Even when you get feedback, good or bad, educated or uneducated listeners... Everyone's opinion can be informative and you can use it.  Most likely they will just compliment.  If they give you some info, that's a plus.  You probably already know what they'll say for things you need to improve on... and you probably already knew that before the performance. So no big surprises.

That kind of "Zen" thinking also kills any reward from the performance, but that's not why I'm playing for people.

[ahinton]

I think the best thing you can do to reduce stress is practice performing as much as you can. Playing in concerts (solo/chamber), performing for friends/parents/teacher, playing in front of the camera, playing in competitions/masterclasses - all these can help you to get used to performing and tame your nerves. I hope this helps.

This is good advice. Another related piece of advice is one that I once had from the poor fellow who had the grave misfortune to give me piano lessons years ago, which is always to remember that you are playing for an audience who has come specially to hear you play - and that doing this requires no "imagination", because even if no one else is present, you are! In other words, all practice is performance otherwise it is a watse of time, which I suspect he felt was a simpler and more direct approach than that of embracing the notion of "practising performance" as merely one aspect of a practice régime.

Best,

Alistair

[pts1]

Unfortunately, our brains have not kept pace with "modernity".<g>

If we are prone to "nerves" faced with performance before an audience, the primitive part of our brain tries to protect us by putting us in a "fight or flight" mode, i.e. prepare to fight the predator for your life or run like hell.

Presumably, in this situation, the brain percieves the audience as the "predator" and bio-chemically gives you the choice of "slaying" your audience or "evading" them.

But intellectually, you know you must stay and play, so what to do with all of that unnecessary, life threatening, mind/body preparedness?

With cortisol and adrenallin and I-don't-know-what-else directly injected into your blood stream by your brain intent on "saving" you, all it does is make you miserable, and lacking a good deal of the presence of mind you have in your normal practice situation.

Then, of course, as mistakes are made and/or the piano seems like another predator, this compounds the problem.



Thank you, Brain!

So the only thing I know to do is to acquire experience before an audience.

Also, you can practice this at home by purposely "making" yourself nervous as if you're in front of an audience, and learn to perform under this type of duress.

Try and play slower, and make sure the pieces performed are WELL within your grasp.
And the sooner you can "immerse" yourself in the music the better as you "direct" yourself conciously until you can allow "auto pilot" to once again run the show.

[krajcher]

Unfortunately, our brains have not kept pace with "modernity".

It's a pity that our brain play tricks.


Thanks everyone for your responses.

[hfmadopter]

Back when I had a teacher a few decades ago now, she helped prepared my performances, even arranged to have me appear in some instances. One piece of advice she gave me was practice to your top level, perform at less than 100%. If you perform at 100% it gives you no wiggle room sort to speak. Of course your instinct will be to want to put out that 100%, I can only pass on what she told me, she said just hold back a little bit. Good advice as it turned out and it bailed me out a few times. Just hold back that little bit, with a slight sense of reserve.

 As to my performances, I found myself most nervous prior to sitting at the piano and most comfortable once I maybe tweaked an incorrect note or made it through an exceptionally hard point in the presentation, tweaking that incorrect note or not. At that point I could then play as if at home and I'm sure others here have had similar experiences. With more performances comes less pressure, it becomes more familiar territory. My first recital was a train wreck of nerves for instance, I remember sitting in the back room pooring sweat, wet hands ( hot day too with no AC) and my stomach up in my throut ! It's a wonder I didn't have a heart attack. Then as each piece passed it got easier, at that point I and the teacher knew I could do this stuff. I guess my childhood days of playing in the 50 accordian band helped after all ( I thought as a kid in a Polish household there was no use learning the accordian if I really wanted to play piano or organ).

David

[chopantasy]

You've played it 100 times mindlessly.  If you could play it once in your head perfectly you'd be alright.  The chemicals pts1 mentioned mostly affect only your body not your mind.

[jesc]

Back when I had a teacher a few decades ago now, she helped prepared my performances, even arranged to have me appear in some instances. One piece of advice she gave me was practice to your top level, perform at less than 100%.

I agree with this. Another perspective of the same concept would be, to practice beyond the level you intend to perform. This has a psychological advantage in that you're most likely to approach the stage with more confidence.

[stiefel]

I normally get slightly nervous before performances, but I focus on the fact that I'm getting an opportunity to share my music with people.  Often as pianists, we must work in isolation, so I find it very rewarding to get to share with others the music I have worked so hard on.  This thought helps with the nerves a little.  Nerves are always there though, but they are normal.  Knowing that they are normal is good.

[hfmadopter]

I normally get slightly nervous before performances, but I focus on the fact that I'm getting an opportunity to share my music with people.  Often as pianists, we must work in isolation, so I find it very rewarding to get to share with others the music I have worked so hard on.  This thought helps with the nerves a little.  Nerves are always there though, but they are normal.  Knowing that they are normal is good.

My teacher for a private service was wonderful. She always had voluntary monthly work shops. The adult work shop as I recall was on a Wed night, I so looked forward to them. Maybe 10 or 12 of us showed up every month. We had to play if you went, show our wares sort to speak. This was my sounding board and it gave a reason to prepare work and just up it a notch as well. I remember some people being so nervous their fingers were shaking over the keys but most of them still showed up. But this kind of experience is priceless if a person has goals to play out, IMO.

[stiefel]

My teacher for a private service was wonderful. She always had voluntary monthly work shops. The adult work shop as I recall was on a Wed night, I so looked forward to them. Maybe 10 or 12 of us showed up every month. We had to play if you went, show our wares sort to speak. This was my sounding board and it gave a reason to prepare work and just up it a notch as well. I remember some people being so nervous their fingers were shaking over the keys but most of them still showed up. But this kind of experience is priceless if a person has goals to play out, IMO.

That sounds very lovely.  I know I said this kind of already, but it is so nice getting to share your music and your practicing with others.