Performance focus, How do YOU focus on performing.

[expressman70]

Hey all,
I just had a recital recently, and it gone pretty bad. I was not afraid or that nervous but when I began playing Bach c minor WTC2 It killed me. I forgot the fugue. Once again It seems like when I play pieces like Rach c sharp minor the chords give me time to adjust and build off. But fast rapid kills me sometimes. SO how do you focus, and prepare just before the recital, especially if you play something right out fast with no grace period if you will. Thanks lads

[stevensk]

I am over-prepared when I play in front of an audience. Dont like to take any risks

[diomedes]

Preparation has direct complete impact on results. Ability too, but that's not something we all can control.

Develop both preparation methods and improve your skills. Then try again. Rinse and repeat.

edit: oh and don't program fugues unless you really know what you're doing. I generally find them a little time consuming on memory resources so typically i'd be reluctant to go about them.

[expressman70]

I am over-prepared when I play in front of an audience. Dont like to take any risks

I understand that aspect. But speaking mentally preparation, how do you go about performing? Any quirks that you do that help you?

[expressman70]

Preparation has direct complete impact on results. Ability too, but that's not something we all can control.

Develop both preparation methods and improve your skills. Then try again. Rinse and repeat.

I agree. But how do you prepare mentally? I am not asking about technical prep, as that is not the problem with me usually.

[diomedes]

But how do you prepare mentally?

I'll quote the above edit i made:

edit: oh and don't program fugues unless you really know what you're doing. I generally find them a little time consuming on memory resources so typically i'd be reluctant to go about them.

The trouble is usually recitals compromise to some degree ones ability due to the mental demands of carrying around so much repertoire. When i programmed Waldstein some time back hearing the playback of it, it was evident my resources were not being represented. At least i had enough common sense to not program a fugue on that same recital. The first item on the program was a Faure nocturne for those general reasons.

I certainly wouldn't program a Scriabin Sonata either, in the context of a recital one would simply be unable to represent the music in a fair way. There'd be difficulties, technically it wouldn't be where it should be only because the demands are slightly impractical. Unless you are a pianist with remarkable resources. I'll certainly continue to develop my skills until i reach that point. It takes time.

[iansinclair]

For me it is not so much what I focus on, it's what I ignore.  The audience.  That's what footlights are for!  Or overhead lights focused on you shining from the house.  Your performance should be a dialogue between you and the music and the instrument.

If you are indeed well prepared -- and taking an only just barely up to standard piece into a performance is guaranteed to create problems -- then just think about the music and what you want to say with it at that time and in that place.

If the audience appreciates it, well and good.  If not, so be it.

[diomedes]

then just think about the music and what you want to say with it at that time and in that place.

That's difficult to do when at the time you are unable to come to terms with what you're doing. Communicating with the audience is the last concern at a time like that. Survival is more the concern for him i think.

Probably the best thing to do in that situation to laugh at oneself, comment to the audience "what was bach thinking" grab the score and play from there.

Obviously i'm not serious, but the audience does indeed like humor in a general sense.

I wasn't at the recital, but someone i knew was: Andrei Gavrilov was performing, something with a lot of Bach. He didn't bother memorizing it, had a page turner and made a rather interesting spectacle by playing poorly and offering to the audience very self deprecating comments about himself in general.

[michael_c]

I agree. But how do you prepare mentally? I am not asking about technical prep, as that is not the problem with me usually.

1. Practice the situation of having to perform. Use any possible opportunity to play your pieces to an audience. Friends, family, lovers, colleagues, whoever. An audience of one will suffice. You may play all your pieces, or just one, or just a movement of a sonata: whatever your audience has time for. If you don't think the pieces are quite ready, play them anyway: explain to your audience that this is the case, that you may make mistakes or even be obliged to stop, but you want to use the opportunity to test yourself. The mere fact that somebody is actively listening puts you into a "performance" situation: this situation needs practice, just like technique does.

2. Visualisation. Set aside a time for this when you can be undisturbed and play through your complete programme. Alone with your piano, visualise the recital, then go through the whole recital process. Make the visualisation as vivid as possible: start by imagining where you are when you warm up. Do the sort of warm-up you would normally do just before the concert. If it won't be possible to warm up just before the concert, leave as much time between the visualised "warm-up" and "concert" as there will be for the real event.

Now leave the piano and imagine the stage with the piano on it. Try to see all the details in your mind: where is the audience seated, how many of them are there, are there people you know, how far do you have to walk to get to the piano... If you start feeling nervous: great, you have good powers of visualisation.

Go to the piano, bow to the imaginary audience, sit down and start playing. All the time you are playing, keep focused on that imaginary hall with the audience. If you make a mistake, try to cover it up as elegantly as possible but keep going! Impose exactly the rules that the live concert situation will impose. (Did you know that Franz Liszt was renowned for turning mistakes into "features"? He would sometimes carelessly hit a very obvious wrong note, but he would never look disconcerted: he would pause a moment on the jarring harmony, then with a sly smile he would improvise some figure based on this harmony, finally getting back to the point where he would find his way back into the piece and go on as if this was all intended).

If you go through this "mockup" of the recital a few times, you will be well prepared for the real thing.

[michael_c]

Another thing I forgot to mention: look for all opportunities of playing your pieces on different pianos. Beware the one-piano syndrome: if you always practice on the same instrument and hardly ever play other pianos, you can be seriously thrown when you suddenly have to play everything on a different instrument in a stressful situation.

Anything can affect you and maybe trigger memory lapses: differences in the sound you hear, differences in what you see (is the fallboard matt or highly-reflective, what height is the music rest...) or differences in the tactile feedback from the keys or the pedals.

This has been scientifically studied.

[expressman70]

I'll quote the above edit i made:

The trouble is usually recitals compromise to some degree ones ability due to the mental demands of carrying around so much repertoire. When i programmed Waldstein some time back hearing the playback of it, it was evident my resources were not being represented. At least i had enough common sense to not program a fugue on that same recital. The first item on the program was a Faure nocturne for those general reasons.

I certainly wouldn't program a Scriabin Sonata either, in the context of a recital one would simply be unable to represent the music in a fair way. There'd be difficulties, technically it wouldn't be where it should be only because the demands are slightly impractical. Unless you are a pianist with remarkable resources. I'll certainly continue to develop my skills until i reach that point. It takes time.

You really understand what I am talking about. Its not even the fugue, but a fast pased piece from beginning did not allow me to like "break in" or settle in. But once I was into the performance it got better. The fugue just left my brain. I rarely have that intense memory lapses. Usually if its in the middle, I get praised by my teacher for manuevering out, but in the beginning of it, it was brutal.

[expressman70]

For me it is not so much what I focus on, it's what I ignore.  The audience.  That's what footlights are for!  Or overhead lights focused on you shining from the house.  Your performance should be a dialogue between you and the music and the instrument.

If you are indeed well prepared -- and taking an only just barely up to standard piece into a performance is guaranteed to create problems -- then just think about the music and what you want to say with it at that time and in that place.

If the audience appreciates it, well and good.  If not, so be it.

The crappy thing is that there were no dimmed lights. But I do need to get used to all circumstances.

[expressman70]

1. Practice the situation of having to perform. Use any possible opportunity to play your pieces to an audience. Friends, family, lovers, colleagues, whoever. An audience of one will suffice. You may play all your pieces, or just one, or just a movement of a sonata: whatever your audience has time for. If you don't think the pieces are quite ready, play them anyway: explain to your audience that this is the case, that you may make mistakes or even be obliged to stop, but you want to use the opportunity to test yourself. The mere fact that somebody is actively listening puts you into a "performance" situation: this situation needs practice, just like technique does.

2. Visualisation. Set aside a time for this when you can be undisturbed and play through your complete programme. Alone with your piano, visualise the recital, then go through the whole recital process. Make the visualisation as vivid as possible: start by imagining where you are when you warm up. Do the sort of warm-up you would normally do just before the concert. If it won't be possible to warm up just before the concert, leave as much time between the visualised "warm-up" and "concert" as there will be for the real event.

Now leave the piano and imagine the stage with the piano on it. Try to see all the details in your mind: where is the audience seated, how many of them are there, are there people you know, how far do you have to walk to get to the piano... If you start feeling nervous: great, you have good powers of visualisation.

Go to the piano, bow to the imaginary audience, sit down and start playing. All the time you are playing, keep focused on that imaginary hall with the audience. If you make a mistake, try to cover it up as elegantly as possible but keep going! Impose exactly the rules that the live concert situation will impose. (Did you know that Franz Liszt was renowned for turning mistakes into "features"? He would sometimes carelessly hit a very obvious wrong note, but he would never look disconcerted: he would pause a moment on the jarring harmony, then with a sly smile he would improvise some figure based on this harmony, finally getting back to the point where he would find his way back into the piece and go on as if this was all intended).

If you go through this "mockup" of the recital a few times, you will be well prepared for the real thing.




Brilliant idea! Thank you. I am actually not bad at "Liszting" Once im into it, but the fugue was horrendous, because it totally left my mind from the beginning, but the funny thing is that I did begin to improvise, not quite succesful as my teacher didn't permit me to go on.

Another question to you..
The day of performance, do you play a lot or you refrain yourself. My teacher tells me not to play too much that day, but that day I failed I played my other repertoir quite extensively. SO how would I go about that.

[expressman70]

Another thing I forgot to mention: look for all opportunities of playing your pieces on different pianos. Beware the one-piano syndrome: if you always practice on the same instrument and hardly ever play other pianos, you can be seriously thrown when you suddenly have to play everything on a different instrument in a stressful situation.

Anything can affect you and maybe trigger memory lapses: differences in the sound you hear, differences in what you see (is the fallboard matt or highly-reflective, what height is the music rest...) or differences in the tactile feedback from the keys or the pedals.

This has been scientifically studied.

Oh that is so true. Thank you. It's called something like in state of memory, or state dependent. I learned that in Psych

[expressman70]

1. Practice the situation of having to perform. Use any possible opportunity to play your pieces to an audience. Friends, family, lovers, colleagues, whoever. An audience of one will suffice. You may play all your pieces, or just one, or just a movement of a sonata: whatever your audience has time for. If you don't think the pieces are quite ready, play them anyway: explain to your audience that this is the case, that you may make mistakes or even be obliged to stop, but you want to use the opportunity to test yourself. The mere fact that somebody is actively listening puts you into a "performance" situation: this situation needs practice, just like technique does.

2. Visualisation. Set aside a time for this when you can be undisturbed and play through your complete programme. Alone with your piano, visualise the recital, then go through the whole recital process. Make the visualisation as vivid as possible: start by imagining where you are when you warm up. Do the sort of warm-up you would normally do just before the concert. If it won't be possible to warm up just before the concert, leave as much time between the visualised "warm-up" and "concert" as there will be for the real event.

Now leave the piano and imagine the stage with the piano on it. Try to see all the details in your mind: where is the audience seated, how many of them are there, are there people you know, how far do you have to walk to get to the piano... If you start feeling nervous: great, you have good powers of visualisation.

Go to the piano, bow to the imaginary audience, sit down and start playing. All the time you are playing, keep focused on that imaginary hall with the audience. If you make a mistake, try to cover it up as elegantly as possible but keep going! Impose exactly the rules that the live concert situation will impose. (Did you know that Franz Liszt was renowned for turning mistakes into "features"? He would sometimes carelessly hit a very obvious wrong note, but he would never look disconcerted: he would pause a moment on the jarring harmony, then with a sly smile he would improvise some figure based on this harmony, finally getting back to the point where he would find his way back into the piece and go on as if this was all intended).

If you go through this "mockup" of the recital a few times, you will be well prepared for the real thing.

Brilliant idea! Thank you. I am actually not bad at "Liszting" Once im into it, but the fugue was horrendous, because it totally left my mind from the beginning, but the funny thing is that I did begin to improvise, not quite succesful as my teacher didn't permit me to go on.

Another question to you..
The day of performance, do you play a lot or you refrain yourself. My teacher tells me not to play too much that day, but that day I failed I played my other repertoir quite extensively. SO how would I go about that.

[michael_c]

Brilliant idea! Thank you. I am actually not bad at "Liszting" Once im into it, but the fugue was horrendous, because it totally left my mind from the beginning, but the funny thing is that I did begin to improvise, not quite succesful as my teacher didn't permit me to go on.

Shame. That's a skill worth practising.

Another question to you..
The day of performance, do you play a lot or you refrain yourself. My teacher tells me not to play too much that day, but that day I failed I played my other repertoir quite extensively. SO how would I go about that.

I think this is a very personal thing. For me the most important thing on the day of the concert is timing my energies so that I am calm, concentrated and awake when the concert arrives. I tend not to play that much: maybe I will run through particular pieces of the program slightly under tempo, in a very calm manner. But if playing pieces from the program already starts making you nervous about how they will go in the concert, it's not a good idea.

I may play easy pieces that I love, concentrating on fluid, effortless technique and just enjoying the music.

If there's a particular piece, or passage, where I know from previous experience or "test runs" that there could be the danger of a memory lapse, I'll go though it slowly in may head. I close my eyes and carefully run the film of the passage in question. I don't actually move my fingers, but sometimes I can feel them tingling: the neuronal circuits that I use when really playing the passage are being activated. If I do get stuck at some point (usually this doesn't happen, but you never know), I go straight to the score, check the detail that was eluding me and then mentally run the passage, or at least that part of it, again.

Apart from that I'll go for a walk, meditate, take an afternoon nap, read a book... It's all about finding that state where I'm just there, in the present moment.

Even if I've played this particular piano before, I want to get used to its possibilities just before the concert. I look for the "sweet spots": at what dynamic levels does the piano produce the best tone, or the most appropriate for particular passages. Where are its limits, particularly in pp range? What change in sound does the una corda pedal make: should I use it or is it wiser to ignore it? What's the balance between different registers: are there passages where I might have to be careful not to let the bass drown the treble, for instance? What about stacccatissimo and repeated notes? And so on and so on...

[expressman70]

Shame. That's a skill worth practising.

I think this is a very personal thing. For me the most important thing on the day of the concert is timing my energies so that I am calm, concentrated and awake when the concert arrives. I tend not to play that much: maybe I will run through particular pieces of the program slightly under tempo, in a very calm manner. But if playing pieces from the program already starts making you nervous about how they will go in the concert, it's not a good idea.

I may play easy pieces that I love, concentrating on fluid, effortless technique and just enjoying the music.

If there's a particular piece, or passage, where I know from previous experience or "test runs" that there could be the danger of a memory lapse, I'll go though it slowly in may head. I close my eyes and carefully run the film of the passage in question. I don't actually move my fingers, but sometimes I can feel them tingling: the neuronal circuits that I use when really playing the passage are being activated. If I do get stuck at some point (usually this doesn't happen, but you never know), I go straight to the score, check the detail that was eluding me and then mentally run the passage, or at least that part of it, again.

Apart from that I'll go for a walk, meditate, take an afternoon nap, read a book... It's all about finding that state where I'm just there, in the present moment.

Even if I've played this particular piano before, I want to get used to its possibilities just before the concert. I look for the "sweet spots": at what dynamic levels does the piano produce the best tone, or the most appropriate for particular passages. Where are its limits, particularly in pp range? What change in sound does the una corda pedal make: should I use it or is it wiser to ignore it? What's the balance between different registers: are there passages where I might have to be careful not to let the bass drown the treble, for instance? What about stacccatissimo and repeated notes? And so on and so on...

Awesome advice man. I will try to incorporate many of your approaches. I tried to give you kudos twice, the system doesnt allow it for another 6 hours  ha. But really it sounds like you are balanced pianist. If you don't mind sharing: do you play for a career? Thank you for advice .

[michael_c]

Awesome advice man. I will try to incorporate many of your approaches. I tried to give you kudos twice, the system doesnt allow it for another 6 hours  ha. But really it sounds like you are balanced pianist. If you don't mind sharing: do you play for a career? Thank you for advice .

The short answer is yes.

I won't try to go into all the details of my long and varied career in music: suffice it to say that performing is an important part of it.

[expressman70]

The short answer is yes.

I won't try to go into all the details of my long and varied career in music: suffice it to say that performing is an important part of it.

That is awesome. Because you sound like you know what you are talking about it. All the best to you. May God bless you and your career.