“Quiet Eye”: A Technique to Enhance Performance When You’re Nervous

Whether it’s sight-reading a tricky piece in rehearsal, playing our least comfortable excerpt in a big audition, or doing a run-through for a colleague whose opinion we respect, most of us are more likely to rush than to drag when the going gets tough. And sometimes, we rush before we even play a note. We walk hurriedly onto the stage, tune quickly, and start to play before we’ve taken a moment to get our thoughts in order.

None of which makes logical sense. I mean, why would we make things harder for ourselves at the worst possible time by depriving ourselves of the time we need?

Of course, it’s not just musicians who tend to rush when anxiety kicks in. Athletes and surgeons (for instance) are prone to this as well. Yet somehow, the very best performers never seem rushed, and always seem to find ways to slow things down and perform at a high level.

How exactly do they do this?

Our eyes give us away

Previous studies have found that expert performers’ eyes tend to be “quieter,” or less active in the last few moments before executing a skill. A basketball player, for instance, might stare at the hoop for a bit before shooting a free throw. Or a golfer might gaze at the ball before making a putt.

Contrast that with what the more typical response – where our eyes dart around and take in lots of extraneous visual information in those last few critical seconds before throwing a dart or starting Don Juan.

Eye movements might not seem like a big deal, but the research suggests that our eyes are indicative of something more important – our focus. It’s not a perfect measure, but we can use information about where we look, and how long we do so, to get a sense of how effectively we are using our attentional resources in a pressure situation. Which in turn is quite important, because how well we play is a reflection of how fully engaged we are with the task at hand.

Sure, we all have those days when we drive from home to the grocery store while in a zombie-like haze, and times when we can get through an ok Prelude to the Afternoon of a Faun while practicing on autopilot, but if we really want to play our absolute best, it takes all of our cognitive resources to make this happen. Just like it takes every ounce of focus and physical energy we can muster if we want to set a personal best in the mile or the deadlift.

So what exactly should we be doing with our eyes?

“Quiet Eye”

A technique called “Quiet Eye” (QE) has been studied in sports, as well as in law enforcement, military, and medical settings, and refers to the amount of time one spends fixating on a specific location before initiating movement. Expert performances seem to go hand in hand with longer QE periods, and it also appears that performing optimally requires that our brain get itself organized before initiating movement, because QE periods get longer as skills become more complex.

In other words, the best performers don’t just wing it. They actually take a moment to slow everything down mentally, and prepare themselves to execute a movement before doing so.

Which certainly makes sense. It’s like taking a moment to think about how best to answer a delicate question in a big interview, versus simply blurting out the first thing that happens to pop into your thoughts.

But there haven’t been a ton of studies looking at the impact of QE in high-stress situations. So is this strategy still effective when the anxiety kicks in?

A test of surgery residents

A team of British and Canadian researchers recruited 20 first-year surgery residents, and divided them into two groups. One group received Quiet Eye training (QET group), while the other received traditional technical training (TT group).

Everyone started with a baseline test of their surgical knot-tying abilities1.

Then, they received some additional training.

First up was a training video on how to tie the knot, with a particular emphasis on the correct hand movements.

Then, the TT group received additional technical instruction on how to tie the knot. Meanwhile, the QET group received Quiet Eye training, which taught them to focus their gaze on the precise location of the knot before making each throw (i.e. loop).

Next, the QET group watched video of an expert surgeon utilizing a long quiet eye gaze on the placement location of the knot, just as they were instructed to do. The video just showed the surgeon’s hands and movements, but a black circle indicated where the surgeon was looking. The TT group watched the same video, but in theirs the cursor was removed, so they saw only the surgeon’s hands and suture movements.

Both groups then watched video of their baseline test. The TT group received feedback on their hand movements (technique), while the QE group watched video that showed where they looked, and their feedback were centered around making sure they employed longer quiet eye gazes on the important knot placement locations.

Last, they took more practice repetitions, and cycled through these steps a couple more times.

Low anxiety vs. high anxiety

Finally, the participants went through the knot-tying test again – but in two different conditions. In the “low anxiety condition,” they were told that the test would be used for “calibration purposes,” and they wouldn’t be compared with any of the other surgical residents. No biggie.

In the “high anxiety” condition, they were told that their performance would be videotaped, their teachers would be evaluating their performance, and they would be ranked among their peers. And to add even more pressure, everyone was told that their performance so far was in the bottom 25%.

The benefits of “Quiet Eye” training

From Causer, J., Vickers, J. N., Snelgrove, R., Arsenault, G., & Harvey, A. (2014). Performing under pressure: Quiet eye training improves surgical knot-tying performance. Surgery, 156(5), 1089-1096.

Both groups improved, but the benefits of the Quiet Eye training really became clear when the residents were anxious. Under pressure, the QET group continued to performed pretty well, whereas the TT group’s performance declined. When anxious, their performance regressed back near baseline levels – as if they hadn’t received any training at all.

The Quiet Eye group also completed their task quicker and more efficiently than the TT group.

From Causer, J., Vickers, J. N., Snelgrove, R., Arsenault, G., & Harvey, A. (2014). Performing under pressure: Quiet eye training improves surgical knot-tying performance. Surgery, 156(5), 1089-1096.

When the pressure increased, the Quiet Eye group was more disciplined in both a) how long they kept their eyes fixated on a visual target, and b) how many things they gazed at. The TT group fixated on more things, glancing at them relatively quickly. In other words, their eyes were more active, suggesting that they were more distractable, and less focused when the adrenaline kicked in.


At first glance, it’s easy to get the impression that Quiet Eye is mostly about picking a spot and staring at it. But it’s no help to stare at your stand, while you think about all the things that could go wrong, or make dinner plans in your head.

The idea is to slow down and quiet your thoughts, and focus on the most important and task-relevant details at the right time. What is this piece about? How do you want it to sound? What is the most important thing you must do right at the outset?

“Quieting” your eyes is just a technique to help you plan your next move, eliminate any distracting thoughts, and get into the right mindset before you play the first note.

Do you already do something like this? Perhaps by closing your eyes for a moment before you start to play?


  1. Specifically, a 1-handed square knot with 3 throws

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.


12 Responses

  1. This is where meditation and mindfulness practice becomes relevant for me. It is exactly in line with the article’s takeaways. It isn’t an overnight solution, but over time the skill of slowing down the mind becomes more automatic and available when you need it most, during stressful situations.

  2. I think this study also points to how strongly the eyes and visual input affect cognitive functioning. It makes a lot of sense to me that we are ‘wired’ this way- seems like visual awareness and focus would be a great survival skill in a jungle full of predators.

  3. The QE technique and accompanying study provides circumstantial support for the use of EMDR (Eye Movement Desensitization & Reprocessing) to treat performance anxiety. If the “eyes are the window to the soul”, we can use our eye movements to self-regulate arousal as well as process underlying sources of anxiety. We can also use EMDR to “install” and reinforce performance scripts that have been learned in the practice studio. EMDR is a more targeted and immediate approach to anxiety reduction whereas meditation is a more general technique to lower overall anxiety levels including trait anxiety. Both work especially well in combination.

    1. Patrick – It sounds like you’ve done some work in this area. Wonder if you can share any information about the specific methodology of EMDR on a practical level. Are you referring to the study that Noa is citing above?
      And for a person wishing to give it a try: Is it simply “focus your vision on a randomly selected object?” Or is there any impact in emphasizing a specific area of the visual field? Is the duration and/or repetition of the procedure a factor? I’d be interested any specifics that you might be able to share. Thank you!

      1. Hi Bill,

        I have used EMDR often over the years, first with trauma survivors and now with performers especially musicians. EMDR is not the same technique as the Quiet Eye but what I meant in my post is that the eyes hold special possibilities around mental processing, self-regulation and possibly abstract thinking (notice how we often gaze upward when we are pondering a question?). QE is a calming technique similar to looking downward or going to a soft focus visually. They all have an impact on self-regulation. In contrast, EMDR is both an exposure-based technique and I believe, an information processing technique that uses bi-lateral stimulation to switch on REM-based processing. The best thing about EMDR is that it accesses emotional memory held in the implicit memory system of the hippocampus. This allows a deeper, more long-lasting processing of distressing contents. Since one source of music performances anxiety is past performance traumas, often dating back to childhood, EMDR can “metabolize” those affectively charged experiences which reduces or even eliminates the negative conditioning when triggered by performance. Check out my website at PeakPerformance101.com for video segments using EMDR. One point to make is that EMDR has to be administered by a trained clinician.

  4. A drummer, Mike Mangini, wich I am a big fan, mention that his eyes are always looking to next move in a song. A cymbal to hit, a pair of drums in a phrase, his eyes are always looking forward.
    Great article. I personally need to incorporate it in my routine.

  5. As always enjoying your posts!
    Concerning this – to me it seems that the subjects who were trained to focus on the subject matter – went in to a state of trance; an Altered State of Consciousness, ASC; In fact, every time you concentrate on something, the periphery recedes into the back-ground (as when watching a sit-com or whatever) – thus initiating the process resulting in a hypnagogic state of mind.
    Couldn´t refrain myself from quoting Wagner (who has been ascribed this statement): “”to attain that truly cataleptic state of mind necessary for every artistic performance of the foremost degree”.
    Meaning entering an ASC – more or less deep.’
    Or in plain terms “just let oneself get engulfed in the doing”.
    Besides this I especially fancy the posts of Rebecka and Patrick. One could guess that this quick scanning everywhere else than at the subject matter is an archetypical reflex to prevent sudden attacks. Think of birds just finding food!
    Agree on the uses of EMDR. In spite of the belief of the EMDR people(so I have been told/lectured) I think there are elements of ASC in the EMDR -process.
    Sincerely yours
    Dan Anders P

  6. As I read this I am shocked because I do this. Before I play something that requires a lot of complex and specific tasks in one long movement, I am staring at one part of the page. My brain is preparing to play what it knows to play, even if I am still not looking at or following the particular line of the music. My eyes will not budge from that spot. I wonder if there are specific places, like memories and footholds in our minds, that our brains form connections with when learning to play a piece. Then even when we perform it, we are returning to that foothold where all the connections were formed and built upon. It almost is as if by returning to that place that lacks written or visual information, we are reducing visual distraction, and preparing all of our faculties to accomplish the task.

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