Thinking of performing again, tips to get back into it?

[lelle]

Hey!

I basically haven't performed in front of an audience since late 2018. Back then I played in front of an audience in some form at least a couple of times a year, but now I feel pretty rusty, to say the least. It's the longest I have ever been away from any kind of stage or performance situation since I started playing the piano when I was like nine.

I've realized performing is a bit like a muscle, that needs to be used to be in top shape. So what are some of your tips for getting back into the game? Good tips for dealing with the performance situation in general, particularly if you are a bit off form and not used to it? I feel like jumping right into performing in front of an audience of many people I don't know would be too big a leap, and I would get terribly nervous and make blunders, even though I didn't have any trouble with nerves three years ago. Thanks!

[j_tour]

That's a great question.

I haven't done anything in public since the CV-19 thing.....but it seems as though you have experience performing, or at least you have some good thoughts about music at the keyboard.

I don't want to make a laundry list of things I personally do...it's kind of ritualistic in my case, involving loading in gear, checking my equipment (no that's not slang for anything), so that very little is left to chance when finally (after interminable delays and meet-and-greet "opportunities" and whatever) can play.

I am somewhat careful about diet and general sense of physical well-being before an important date, as well:  that doesn't mean I won't have a beer or a glass of wine, but I'm assured that I won't have explosive diarrhea on stage, so that's one less thing to think about.

But, I do that generally before my day job as well, so it's just a general regimen I follow.  It's not really wake up, do 100 press-ups, shave with a straight razor, and say ten Hail Marys, but there is a kind of method I like to follow.

More or less, I try to identify the sources of uncertainty and eliminate them, as much as possible.

[lelle]

Thanks! Yeah I have had a lot of rituals myself, though I barely needed them when I was at the top of my game.

I am somewhat careful about diet and general sense of physical well-being before an important date, as well:  that doesn't mean I won't have a beer or a glass of wine, but I'm assured that I won't have explosive diarrhea on stage, so that's one less thing to think about.

That's the ultimate test though. Can you be completely comfortable in front of an audience while there is fecal matter dripping down your leg?  It does not, after all, define you as a person.

[j_tour]

That's the ultimate test though. Can you be completely comfortable in front of an audience while there is fecal matter dripping down your leg? 

Maybe that's it:  if you cannot perform covered in your own feces, what good are you? 

You have to keep in mind my performances are measured in dozens of people in the crowd, if that, on a good night, no matter how big the audience area is, and never solo piano, so perhaps the odds of me getting away with a GG Allin stunt are greater than yours!

[lelle]

Maybe that's it:  if you cannot perform covered in your own feces, what good are you? 

Honestly if that ever happened, every performance ever afterwards would feel like a piece of cake by comparison. But I don't think I want to go that route so let's hope some more forum member's contribute some conventional tips 

[timothy42b]

Physically, know your piece well, or be very good at sightreading in that style.  Don't attempt something too hard - well that's obvious, but you'd be surprised how many people will choose something that's just barely within their ability, only to find that under pressure it didn't work out.  Never take a risk if you can avoid it; play something comfortably within your level.  That makes a huge difference in your confidence.  That assumes your level is high enough!  I did a lot of playing in church when my own level was so low that everything was at the ragged edge of my ability, and sometimes I fell apart, sometimes I muddled through. 

Mentally, you don't HAVE to do it, you GET to do it.  There's a huge difference in forcing yourself to do something painful because it's good for you, and doing something that's exhilarating and fun.  That difference isn't in the venue or the music, it's simply a mental choice you make.  No athlete dreads getting in the game - if they're not a starter, they're on the bench hoping coach puts them in. 

[1piano4joe]

Hi all,

I don't know if my performances count since they were never in front of a paying audience. Occasionally though, an audience/crowd might gather.

These are some of my impromptu performances:

1. I played/performed in a nursing home. Does that count?
2. On a cruise ship. I was only a guest.
3. At a wedding.
4. At music stores.
5. At a buffet. Strangely, I was asked to keep playing!
6. Hotel lobbies many times.
7. On the street a few times.
8. On stage in front of maybe 80 people. Only one piece.
9. Peoples homes. Maybe a few times.
10. Restaurant or two. Only a few pieces.

I sometimes know I might be performing and other times would hope for an opportunity.
These were not long programs. They weren't "programs" at all. It was more like, the piano is there, I was there, I might as well just play it.

That's my disclaimer.

I only "perform" pieces I have played for years. There aren't that many that I'm comfortable enough with. These are way below my level. I am confident about them but am more concerned with the unfamiliar piano. Therefore, I have a habit of starting with the absolute best, easiest one I know to get familiar with the piano.

I take my time. Adjust the bench height, and distance from the piano. I place my hands on the piano and my right foot on the pedal. Kind of like driving a car where I adjust the seat and mirrors. I look up, around the room and/or environment. I have "imagined" playing the first piece before actually playing it. Perhaps even wait for an appropriate time to begin. There might be an announcement on a loudspeaker or even a plane flying overhead, etc.

I hope I have been helpful, Joe.

P.S. I don't get nervous but I usually take a deep breath or two.

P.P.S. Oh, how could I forget the recital and do lessons in front of your teacher count?

These were/are short performances so no coprolite issues as of yet.

[lelle]

Thanks for the replies! I think I definitely will choose pieces that are not at the edge of my abilities for my first forays into playing in front of others then. I was also thinking that I could maybe stagger the "level" of the performances I do, so I start out just playing for my mom or something, then find some public place where I can play but there is not anyone there who has committed an hour to hearing me play, then maybe make a small performance in a nursing home when covid restrictions allow, etc etc. Not sure if this is a good idea or how I'm gonna go about it though.

[1piano4joe]

Hi lelle,

I think staggering is an excellent idea. It's sort of like a dress rehearsal. You get to check out not only your repertoire choices but your emotional/nerves readiness. This can be an invaluable confidence booster.

I like the idea of playing for mom, then maybe head over to your local piano dealer/music shop. It could even be a chain. Put on your mask and head over to Sam Ash or Guitar Center. They usually have a nice big selection of digitals and that would better than the local mom & pop store. Plus there would be more people in the larger franchises.

I don't really recommend a piano dealer because very often there is nobody in the store at all. So, other than room acoustics and getting to try some pianos out, there would not be much of an audience other than the salesperson.

A plus about the big franchises is that there could be people playing drums and/or electric guitar while your playing. It could be a plus in the sense that you get to practice with all the other sounds going on and really need to focus and you might not be so nervous that everyone is listening.

Just a thought, Joe.

P.S. Do you go in the pool with the stairs slowly or do you just jump/dive right in? Maybe it's not exactly the same thing but this might help you better judge your staggering idea and to what extent. How much staggering is enough, etc.

Try to go at a busy time.  Maybe the weekend has more people in the store.

Maybe you could seek out some "public" pianos. It might be possible to play at a restaurant for free since they are really hurting. They might throw in a free meal.

I hope I have been helpful, Joe.

[lelle]

P.S. Do you go in the pool with the stairs slowly or do you just jump/dive right in? Maybe it's not exactly the same thing but this might help you better judge your staggering idea and to what extent. How much staggering is enough, etc.

Thanks for your reply, Joe. I'm definitely a "go down the stairs slowly into the pool" guy 

[ranjit]

This thread is pretty interesting. I tend to be unabashed when performing for a small audience, and I don't care about mistakes, pretty much (which is probably a bit of a weakness). Instead, I tend to chain together pieces I've learned along with a bunch of pop music and improvisation, freely moving between them as I feel like. I honestly don't think that note perfection brings about emotion in the listener, and I'm constantly searching for certain kinds of sound which I feel would make the music sound alive or 'fresh'. I also tend to see how much variety I can come up with extemporaneously and how far I can "push it". I feel like I have a reasonable amount of confidence that I can bounce back after mistakes, or improvise through them, and that a general audience doesn't (and shouldn't) really care. Sometimes, I try to play something by ear or from memory and it's immensely thrilling it's successful.

Not exactly a performance tip, but I guess it can help you feel like the audience is your friend rather than an adversary.

[lelle]

Let's just put it this way, if I cared about mistakes, I would never have performed, ever  It's funny in a way, I'm pretty fine with mistakes and can save myself rather competently when I mess up. What I don't like is when nerves affect my ability to deliver my conception of the piece, for example if my phrasing becomes worse in the entire piece and things like that.

[anacrusis]

I think building it up gradually is a good idea. Back when I was in college way had a lesson to play for each other every week. Every person did not necessarily perform that often, but we got to play a lot all the same. And playing in front of your colleagues, especially when you are still in the process of learninging the piece and won't play at your best, can be nerve wracking for many. After that, playing in public feels like a relief by comparison  I'd advice you to find some pianist friends to play for, if you have them. Otherwise, playing for relatives etc is fine too.

[lelle]

Thanks for your tips. It's pretty horrible to play for other pianists. All the criticisms I have of my own craft gets projected onto them and I think they're all as harsh as I am^^

[ranjit]

Thanks for your tips. It's pretty horrible to play for other pianists. All the criticisms I have of my own craft gets projected onto them and I think they're all as harsh as I am^^

Haha that's very true, even when they are diplomatic you can hear their gears whirring 

[lelle]

I prefer people being direct and honest to being "diplomatic" You can usually tell when people are thinking things they are not saying, and all those extra things are of value too. You can be constructive and honest about your opinions without being mean.

[timothy42b]

I prefer people being direct and honest to being "diplomatic" You can usually tell when people are thinking things they are not saying, and all those extra things are of value too. You can be constructive and honest about your opinions without being mean.

There is really only one critique of my playing that I trust or value as at all worthwhile:  do they hire me again? 

[lelle]

There is really only one critique of my playing that I trust or value as at all worthwhile:  do they hire me again?

I'm not sure that is foolproof though. Plenty of pianists I don't like get hired again. Tastes are different. If you don't get hired by a particular person/audience, your playing might just not have been to their taste, even if it's good? I would personally not want to change or modify my playing to please an audience. That is manipulation. I'd rather want to hone my craft and express myself as authentically as I can, and the people who enjoy what comes out from that would be my preferred audience.

[timothy42b]

I would personally not want to change or modify my playing to please an audience. That is manipulation.

The trick is to pick your audience.  I see your point; at the same time our art and missions as musicians IS to communicate with an audience.

The classic case to me is Joshua Bell.  (yeah, I know we've had this fight discussion before, but my opinion hasn't changed.)

He is widely respected as a virtuoso and expressive classical musician, and his audiences who choose that kind of music do hire him again.  When he played in the subway he had moved from the concert hall into the busker's arena, and he was clueless how to please that audience.  If he had to live on donations like a busker does he would starve to death, because despite his technical skill he did not have the other audience communication skills that are needed for that application.  Of course everyone blamed the audience for being unappreciative! but I've always thought the blame was squarely on him. 

[j_tour]

That's a kind of interesting tit-for-tat about music and performance.

It's true, I consider myself kind of a mercenary of music.

The Joshua Bell example is excellent.

But, truth is, I wouldn't perform any music I truly despised.  I'd imagine most performers are the same way:  one has one's favorites, but there's usually some way to make music out of what appears pure drek.

[timothy42b]

But, truth is, I wouldn't perform any music I truly despised.  I'd imagine most performers are the same way:  one has one's favorites, but there's usually some way to make music out of what appears pure drek.

There's an old big band saying:  You have to play three tunes for the crowd and one for the band. 

Keeps both parties happy. 

[j_tour]

There's an old big band saying:  You have to play three tunes for the crowd and one for the band. 

Keeps both parties happy.

I never heard that one for music, but I'm sure the thought goes through everyone's head.

But it's like they say in movies:  make one for the studio, and one for yourself.  (Or whatever the ratio du jour is).

I'm kind of surprised that there's a bit of antipathy for "mingling with the masses" among performers.

It's a humbling experience, but aren't we all just entertainers, really? 

Yeah, I know, deep thoughts and whatever, but it's still rock and roll, more or less.

Murph and the Magic Tones! 

I know you get the reference, but I'm pretty sure everyone has to go through a bit of that.  Meh, put some orange shag carpet on the speakers and the piano, meh, it's still a paycheck.  A tiny one, but one still does the dance.

[lelle]

The trick is to pick your audience.  I see your point; at the same time our art and missions as musicians IS to communicate with an audience.

Yes I agree. And I think communication reaches its deepest form when you are communicating authentically. It's like talking to a person and monitoring how what you are saying is received to try to make them like you more. It's harmless in some ways, but it's still manipulation, and is still not true. I think the same applies to music. The honest artist offers what he or she has and lets the audience decide how they receive it.