Are You Working Hard Enough on Stage?

“Do more.”

This was probably the single most frequent comment I received from almost every teacher or artist I ever played for.

In hindsight, it’s pretty embarassing. It means that I (a) hadn’t taken the time to really look at the score and develop any ideas, (b) hadn’t taken the time to make any decisions, and (c) was a big ‘ol wimp.

To be fair, under pressure, we tend to err on the side of caution. We play safe, even tentatively, so as to avoid making any mistakes, or calling attention to ourselves.

But the result is not the solid, secure, respectable technical playing we hope for. What we end up with is boring, unremarkable, and forgettable playing that inspires nobody, least of all ourselves.

Of course, none of us enjoy making mistakes or being wrong, especially in a public setting. But great artists are willing to take this chance and jump off the cliff time and time again.

How can we train ourselves to stop being such scaredy-cats?

Learning to trust ourselves

The mental part is actually pretty straightforward. We just have to prove to ourselves over time that we can trust ourselves to let go and that the world will not end if we do.

Start by taking a piece of music, or an excerpt that is pretty high energy. Something like the opening of the Brahms violin concerto, or the Dvorak cello concerto.

Press record on your recording device, and then go for broke. Do too much. Really turn your energy, focus, and emotional intensity up to 10, even if it’s a lyrical passage. That doesn’t mean forcing your sound, pressing more, doing weird and outrageous things, or distorting what’s in the score. It just means intensifying whatever it is that your intention for that section is.

Listen back to the recording. On a scale of 1-10, 10 being you really played freely like you meant it, what was your score? Could you have done more? More intensity? More extra something special on the high note? No safe, generic, middle-of-the-road, uncommitted, or vanilla playing allowed.

Recommit to really going for it, and keep playing that phrase or section until you can get consistent 9’s or 10’s.

The importance of going too far

Generally, we are best off increasing our courage by taking baby steps. But in this case, you want to do the opposite. You want to go too far, such that your teacher or coach would tell you to tone it down a bit. Far easier to go too far and take a bit off, than to keep creeping closer and closer but never quite getting there.

Remember too that your ears will deceive you. Meaning, because you already know what to expect, you’re going to be more likely to hear it even when it’s really subtle. Play for a stranger though, and they will be hard pressed to notice what you are trying to say.

I went to a chamber music workshop in Israel hosted by Isaac Stern a number of years ago, and one of the main messages we left with was the importance of taking our ideas and making our intentions ultra clear; or “hitting the listener over the head with a 2×4” as one of them put it. Not because the audience is so dense, but because a lot gets lost in the distance between us and them, and we need to be extraordinarily clear if we want them to really hear and be convinced by what it is that we are trying to say.

And yes, this is as draining and exhausting as it sounds. Playing like you mean it is a lot of work. If performing feels too easy, you’re probably still holding back.

But it sounds worse!

At first, you may indeed find that when you play at the edges of your ability, you sound worse. What’s happening is that you are being made aware of where your weak areas are. That’s because playing safe and “vanilla” is easy; playing out like you really mean it takes more highly developed technique.

This might mean going back to the drawing board and ironing out some technical details, but when you get those figured out, you won’t be able to go back to playing easy, safe, and boring. You simply won’t see the point. And besides, it’s not nearly as fun.

The one-sentence summary

“Security is mostly a superstition. It does not exist in nature, nor do the children of men as a whole experience it. Avoiding danger is no safer in the long run than outright exposure. Life is either a daring adventure or nothing.”  ~Helen Keller

photo credit: *Kicki* via photo pin cc

Ack! After Countless Hours of Practice...
Why Are Performances Still So Hit or Miss?

It’s not a talent issue. And that rush of adrenaline and emotional roller coaster you experience before performances is totally normal too.

Performing at the upper ranges of your ability under pressure is a unique skill – one that requires specific mental skills, and perhaps a few other tweaks in your approach to practicing too. Elite athletes have been learning these techniques for decades; if nerves and self-doubt have been recurring obstacles in your performances, I’d like to help you do the same.

Click below to learn more about Beyond Practicing – a home-study course where you’ll explore the 6 skills that are characteristic of top performers. And learn how you can develop these into strengths of your own. And begin to see tangible improvements in your playing that transfer to the stage.

Comments

9 Responses

  1. Another wise teacher (mimedancer/artistic coach Karen Montanaro) once told me: “Don’t do more – hide less.”

  2. I think this is a great article. I love to tell my students that they’ll never know what’s over the cliff if they don’t go up to the edge and take a look. It’s amazing how much progress they can make in exciting musicianship in a short time when they have permission to over-do it.

  3. Great article! An additional thought from the late great John de Lancie, former Principal Oboist of the Philadelphia Orchestra. He likened playing on stage to acting on stage, and the careful performance of your musical intentions and the score’s indications is kind of like stage makeup — up close it might seem almost exaggerated and grotesque, but done right it comes through as beautiful, virtuosic clarity of expression by the time it reaches the audience. The point is not to be shy and unassuming, but “In your face! Like the kids say today.”

    1. Hi Rolf,

      Thanks for the insight. This is really interesting – I know de Lancie’s son is an actor, and saw him narrate a piece when I was out in Aspen many years ago. Do you know if this analogy was part of his thought process before his son went into acting, or after?

  4. Dr. Noa,

    I never thought about performance in the sense that I needed to do almost too much. I’ve been playing at open blues jams for a while and I’m always very self-conscious about playing too loud or doing too much. It’s actually something that unnerves and annoys the older players.

    On the other I hand I really want to cut loose and experiment. To play outside of my comfort zone and take chances. I want to NOT care about making mistakes because the goal for me is self-expression through improvisation. It’s desirable to “fit in the pocket” and play simple, but musicians improve by taking chances too.

    Trusting yourself, I agree, is essential. You have to trust yourself to make good AND bad decisions. I’m trying to embrace my bad decisions. Maybe it’s better to play hard and badly, but be aware that it sounds bad, then go home and figure out why it does and how to make it sound good. Sometimes it’s better to know what doesn’t sound good to figure out what does.

    Do you think it’s better in this case to annoy other players in the name of experimentation?

    1. Hi Kyle,

      I’m inclined to say that annoying the fellow musicians you play with may not work out so well either, unless you let them know in advance what you’re trying to do and they are supportive of your efforts. Perhaps this can be a criteria you look for when seeking out others to play with? Others who aren’t purely experimenting and doing weird things, but who are looking to push the edges of their own playing and with whom you are able to experiment as a group. After all, that “chemistry” factor does exist in group settings, and can be a very important element that determines whether people enjoy playing together or not.

      That’s my take – I’m sure there are others here who could advise on this question as well.

      Noa

  5. /// taking our ideas and making our intentions ultra clear; or “hitting the listener over the head with a 2×4″ as one of them put it.

    Hey, it worked for Beethoven. 🙂

  6. Great insight. I had a similar experience in a lesson during college. I tended to take baby steps, and my teacher gave me the same advice you did. He tended to be a very dramatic performer and when he finally told me to tone it down a bit, I knew I had arrived!

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