But I can do it in the practice room

Every week I hearĀ students play badly, then tell me, “but I can do it in the practice room…”

Here areĀ some reasons things might go more poorly in a lesson than inĀ a practice session, and some strategies for dealing with those problems.

photo, Derek Bruff
photo, Derek Bruff
  • It’s possible that you’re not really playing any differently. Things seem worse because having someone else listenĀ heightens your sense of what you really sound like. Try recording yourself while practicing, then listening back. It can be a painful revelation, but it can bring problemsĀ to your attention and improve your ability to really hear yourself as you play.
  • It’s possible that your mastery of the music is really only borderline, and the normal stress ofĀ having an audience is enough to cause trouble. This is whatĀ I call “sight-reading mode.” It’s not that you are necessarily playing the music for the first time, but you are still at the point of having to mentally process each note as it goes by. For more stress-proof performance, put in more slow, accurateĀ repetitions when practicing to build your muscle “memory” and aural memory.
  • It’s possible that your mastery of the music is good, but your stress is above normal. In this case the problem isn’t your practicing per se. Improve your ability to play in front of othersĀ withĀ techniques for managing performance anxiety. These might include healthy lifestyle habits (sleep, nutrition, and exercise) or mental exercises (like visualization, affirmations, or mindfulness practice).

Don’t make excuses, look for solutions!

Similar Posts

  • Prepping the dumb guy

    In the practice room, I’m smart, organized, and focused.Ā I’d like to say that this always leads to performances that are relaxed, poised, and confident. But sometimes the smart guy from the practice room fails to show up, and instead a much dumber version of me ends up on the stage: nervous, distracted, and scatterbrained.

    It’s my job (the smart guy) to make sure the dumb guy is prepped and ready to go. He’s not much good at thinking on his feet or making good musical decisions, but he’s trainable. So here’s the preparation regimen:

    • Practice in a thorough, methodical way. Not just the hard parts—the easy parts, too, which the dumb guy thinks he can handle but will be prone to boneheaded mistakes.
    • If recordings of the repertoire are available, listen to them over and over. Sometimes when the dumb guy’s reading or memory fail him, his ear can help him through.
    • Include a clear breathing plan in the practice routine. Mark the breaths in, early in the process, and practice them like they are notes. My particular dumb guy tends to breathe in weird places when he gets nervous, so I have to make sure good breaths are part of his muscle memory. (If you have a dumb guy/girl, they might have their own personal quirks that need a safety net.)
    • Make extensive markings. Anything that the dumb guy might forget gets penciled in, in clear and unambiguous terms (no just circling things—the dumb guy can’t always remember in the heat of the moment what the circles mean). If necessary, I even leave him a little reminder a few bars in advance (“big breath coming up,” “keep fingers relaxed,” etc.).
    • Make foolproof arrangements for page turns. Sometimes that means things like making a couple of copies of a page, with some bars completely blacked out so the dumb guy can’t accidentally play past the page turn, or fail to find his place after turning. Sometimes I even leave some instructions in the margin about how to do the page turn successfully.
    • After the recital or concert, I review the dumb guy’s performance to figure out what other holes he managed to fall into, and strategize about how to plug those holes for next time.

    If you’re like me, and your IQ sometimes drops a few points under the hot stage lights, make sure you’ve done your advance work so the dumb guy can’t cause too much havoc.

  • |

    Solo/chamber stage etiquette for first-year music majors

    Here’s what I teach my first-year music majors as they are preparing for their first public performance of solo or chamber repertoire. CustomsĀ may vary in your area.

    photo, Converse College
    photo, Converse College
    • Dress professionally and comfortably. Formalwear/eveningwear is overkill and a distraction for most music major recital performances. I like to wear a necktie and preferably also a jacket, but something of roughly equivalent dressiness also works (slacks/skirt and a nice top are another example).
    • Enter the stage by walking swiftly and confidently. Stop just short of the music stand, so that it isn’t between you and the audience (at least not yet).
    • Before you do anything else, acknowledge your audience with a bow. (If you are on stage with collaborative musicians, wait for them to get into position so you can all bow together. Whoever is standing closest to the front should start the bow as soon as everybody is ready.) To bow: bend at the waist, look at your shoes for a second, then straighten back up. Keep both hands either on your instrument or at your sides. Don’t curtsy. Don’t shrug or roll your eyes or pull faces. (I suggest practicing your bow a little before your performance. Maybe take smartphone video so you can see if you are doing something weird.)
    • After bowing, make any last-minute arrangements or adjustments: arranging sheet music, checking reeds, etc.
    • If you are taking a tuning note on stage, turn to whoever is providing the pitch. Mostly listen, then play briefly, adjust, and if needed play one more time (briefly!) to be sure. Don’t play a long tuning note, like you’re tryingĀ to convince yourself that you’re right. If you’re uncertain about your ability to tune accurately on stage, you can tune to a tuner or other reference before going on stage, and use the onstage tuningĀ as a chance to just play a note before you begin the performance.
    • During the performance, don’t make faces or gestures in response to mistakes. It calls unnecessary attention to what probably are barely-noticeable glitches, and takes you and your audience out of the moment.
    • As you and/or your collaborators play the last note of each movement or piece, freeze in place. Hold your positionĀ until the last note finishes reverberating in the performance space, then another second or two.
    • If you just finished a complete musical work (not just one movement of the larger work you are performing), you can bring your instrument down into a carrying position, look out into the audience, and smile to signal that the piece is complete. They should start to applaud at this point.
    • Leave the stage quickly. Don’t be caught still on stage when the applause ends. In some situations you can leave your sheet musicĀ behind to be retrieved later.
    • In some cases the audience will continue to applaud enthusiastically after you leave the stage. If you like, you can return to the stage for another bow and then leave quickly again. Sometimes the audience doesn’t bring you back for another bow—don’t take that personally.

    Break a leg!

  • How to behave at your first classical music concert, and why it’s so weird

    I hope you enjoy your first classical music performance! Sometimes the etiquette can seem a little foreign. I’ll try to help you understand what to do, and why classical music fans do things that way.

    The most important thing is not to distract the audience and the performers. Some common concert etiquette “rules” include:

    • Be in your seat before the music starts. Then, stay there until intermission (if there is one) or the end of the concert.
    • Don’t talk, even at a whisper.
    • Keep cell phones silenced, screens off, and put away.
    • No snacks.
    • If you have kids who might have trouble staying still/quiet, consider leaving them at home. (Except for designated family-friendly concerts.)
    • Applaud only at the “right” times. (More on this later.)
    • Avoid unnecessary fidgeting, coughing, and anything else that makes noise.

    Why are the “rules” so strict? One reason is that classical music is usually performed in a special concert hall. Usually the music isn’t electronically amplified. The concert hall’s special design makes even the smallest sounds clear from a distance. That’s good when it’s a hushed moment in a violin solo. But it’s bad when it’s an audience member’s crinkling candy wrappers or ringtone. At an amplified rock, country, or hip-hop concert you can make noises like that, and no one will hear. But at a classical music concert people might hear those sounds even if they are far away. The performers can maybe even hear them from the stage.

    Classical music wasn’t always such a stuffy affair. Some of the music was originally performed in more boisterous settings. And there are people in classical music interested in changing the current etiquette. But for now, the (mostly-unspoken) “rules” lean toward pretty strict and formal behavior.

    And, for classical music fans, it’s one of the things they might love about it. The quiet atmosphere is a blank, unblemished canvas for the musicians to paint on. It’s a chance to hear every fine detail of a performance by highly-trained musicians. It can be immersive and meditative. You might find you enjoy it too.

    To seasoned classical music fans, a disruptive audience member (even unintentionally!) might feel like someone standing in front of the TV during a crucial moment in the big football game. And, unfortunately, they might react like a sports fan, with dirty looks, unkind words, or other rudeness. That’s bad too, because it can scare away potential new fans of classical music. But it probably comes from a place of wanting to experience the music in a pure, uninterrupted way.

    A polite audience member also shows appreciation to the performers, usually with applause (not so much yelling, whistling, “woo,” etc.). But pieces of classical music sometimes have multiple parts, with silence between. It can be tricky to know when is the right time to clap. If there’s a printed program, that might help you figure it out. But if you’re not sure it’s best to follow the lead of some of the other concertgoers. (There’s no prize for being the first one to clap.) Sometimes there’s a long silence between the end of the music and the start of the applause. Audience members may be waiting for the last note to finish echoing in the hall. And they might even wait a little longer to savor the magical moment of silence at the end. Don’t worry. The musicians will appreciate that too, and won’t take your hesitation as a lack of enthusiasm.

    If you find all this off-putting, there are ways to appreciate classical music performances from home instead. If you enjoy it you can work up to an in-person concert. Or you may be able to find free or inexpensive concerts in your area, especially if there’s a university with a music department. You can try one of those and leave at intermission if you’re bored or uncomfortable.

    Thanks for your interest in live classical music, and I hope you enjoy!

  • |

    Not good

    I like to use a Socratic-ish method in my private lessons, and ask my students questions. It means that I have this conversation several times per day:

    [Student plays.]

    Me: How did that sound to you?

    Student: Not good.

    Me: What didn’t you like about it?

    Student: It didn’t sound good.

    Me: What aspect of it didn’t sound good to you? The tone? the pitch? the phrasing? the articulation?

    Student: Um, I guess the articulation?

    Me: What didn’t you like about the articulation?

    Student: It wasn’t good?

    It’s an ongoing battle to get my students to listen more deeply than that. Was the articulation “not good” because it started with air noise instead of tone? Because it was accompanied by an unwanted percussive sound? Was the articulation technique perfect but you failed to follow the composer’s markings? Or was it something else?

    Photo, David Bailey
    Photo, David Bailey

    Often the “not good” is a combination of factors, but if my students can identify even one of them, then they can immediately start working in a focused way to improve it. If it’s just “not good,” then they tend to just play it again from the beginning without any clear approach to making it sound better, and repeat until frustrated.

    Part of my job is to help them identify and verbalize the desirable and undesirable phenomena in their playing, and to teach them the techniques for manipulating the variables involved (breath support, voicing, embouchure, finger technique, and tongue technique, to name the most obvious ones). But it’s up to them to take that information and run with it. For my students to become independently-functional musicians, they need to learn to listen critically to themselves and troubleshoot.

    For yourself and for your students, don’t be satisfied with bland value judgments (it sounded “good” or “bad”). Be factual and descriptive about what you hear, and tackle problems in a methodical way. Practice smart!

  • 10 ideas for more focused practicing

    It can be difficult to keep practice sessions focused and productive. Distractions, burnout, boredom, and bad habits get in the way of progress. Try some or all of these, see what works well for you, and make the most of your practice time.

    Photo,  woodleywonderworks. (license)
    Photo, woodleywonderworks. (license)

    1. Prepare yourself mentally. Before you start, take a few minutes for meditation, prayer, introspection, deep breathing, self-awareness, or whatever else helps you set aside the concerns of daily life and get in the zone.
    2. Prepare yourself physically. Stretch, hydrate, dress comfortably. Get enough sleep and exercise and eat a balanced diet. Protect yourself from repetitive-motion injuries and make sure your body can perform at its best.
    3. Embrace routine. Develop some habits around your practice schedule. A carefully-selected routine gets you into practice mode and reduces the chances of falling into procrastination. It also gives you a framework that can be fine-tuned when you have a new idea you would like to incorporate.
    4. Warm up. It doesn’t just mean bringing your instrument up to temperature. Do long tones, scales, articulation studies, or other things that get your instrument-playing muscles working together. Choose ones that demand your very best embouchure, voicing, breath support, finger technique, etc.
    5. Be goal-oriented. Know what you want to accomplish, as specifically as possible. Not “I’m going to practice my scales.” Try “I’m going to get my F-sharp major scale tempo up to sixteenth notes at 60 beats per minute with no wrong notes or hesitations.” Or even better: “I’m going to train my fingers to use that alternate D-sharp fingering in the top octave of the F-sharp major scale at 60 beats per minute with no incorrect or hestitant finger motions.” Goals shouldn’t only be technical; they can be expressive and interpretive, too. Make a list, and start checking things off.
    6. Seek variety. Don’t drive yourself crazy or die of boredom practicing one problem phrase for hours on end. Through experimentation, figure out how long you can really maintain focus and enthusiasm for a single practice task (10 minutes usually works well for me), and move to a new task when it gets less productive to work on the old one. You’ll come back to it later with fresh ears/eyes/fingers/lips.
    7. Take breaks. Take them frequently, but don’t leave them open-ended. Know exactly when you plan to get back to work, and what task you will be tackling next.
    8. Self-evaluate. You probably already have some kind of device you can use to record yourself. Listen back as though it’s somebody else playing. Make notes about what you hear. Pick the biggest-priority items and add them to your goal list.
    9. Escape distractions. You know what pulls you away from the task at hand. Hide it, silence it, power it down. How different would your practicing be if the only people or objects in sight were you, your instrument, and a music stand?
    10. Find inspiration. It’s hard to reach a performance goal if you aren’t sure what that goal sounds like. Don’t be afraid to listen to recordings or watch videos of your heroes—you will still sound like yourself, just a better-informed version of yourself. Listening to singers or players of instruments besides your can really open up your mind and ears, too.

    Have additional tips? Leave a comment!

  • Interpretation at small and large scales

    When I ask my students about their interpretation of a piece of music, their answers are often about shaping phrases. The phrases should have some kind of beginning, middle, and end, often expressed in some kind of dynamic shape, like starting softer, growing to a louder peak, then gradually getting softer again.

    That isn’t wrong, but it’s really just interpreting individual phrases. The next step is to give those phrases some relationship to each other. Does the next phrase continue the previous one in some way? Answer it? Contradict it? Make a contrast with it? If your favorite tool for expressing your interpretation is dynamics, then the answers to those questions might determine whether the next phrase, say, picks up at the same dynamic level as the previous, or at a dramatically different one.

    Then the phrases should build a larger structure, such as a theme. The individual phrases that make up the theme should have beginnings, middles, and ends, but they should join together into something bigger that also has a beginning, a middle, and an end.

    The themes might combine to build a movement, and the movements to form a complete work. And multiple works may even construct a complete concert program.

    Small-scale phrase shaping is a good start, but mature interpretation requires thinking on a larger scale.

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