Fight the Fright
 |  Oxford Piano Lessons Charlotte Tomlinson shares her knowledge of helping students to possess a positive performance experience Oxford Piano Lessons Throughout the last several years, I've given many foretells teenagers at schools on how to cope with stage fright when giving recitals that'll be assessed within their final year exams. When I ask what number of them feel nervous if they are going to perform, hands increase slowly and tentatively until every hand went up, including my very own. They look around, amazed. They have no idea that anyone else goes through exactly the same experience as them and also the relief in the room is palpable. This discovery is very important for any musician, but particularly those who're studying. Being overly nervous when performing is definitely an isolating feeling. Musical children can feel that who else suffers such as this, and so they could even feel ashamed, worried that telling their friends will expose them as not being quite sufficient. Performance nerves happen because of an overdose of adrenalin, created by the body because of a perceived threat. The body interprets walking to a stage to offer a concert because the same as being seen a sabre toothed tiger within the jungle. A tiny dose of adrenalin can be an advantage when you�re performing. It heightens everything, keeps you alert, ready to perform at your best. But a lot of could have a crippling effect. The perceived threat may come from so many different directions: a lot of pressure; anxiety about looking a twit; thinking everyone will criticise you; not feeling sufficient; not preparing adequately. It might be merely a perceived threat, however it is very real and will cause enormous distress. Understand the music really well It may sound obvious, one of the biggest aspects of keeping stage fright from increasing is always to understand what you are performing, and to understand it really well. Numerous pupils don�t have an understanding of the significance of this. They kid themselves they can fluked it, but many of times they can�t which is smart to help them realise they can�t. They could also be unaware that even the individuals who provide the impression which they just stand up there and take action have invariably done much more preparation than it might appear. It is the quality of practice that makes the difference here. It�s all too simple for a pupil to consider they�re practising when what they are in fact doing is mindlessly playing the identical bits repeatedly. They have to learn focused and efficient practice. When they do, the benefits are twofold. Focused practice builds the background music into the system very well that when nerves get out of control within the performance, a kind of autopilot can kick in while the pupil recovers themselves and finds their feet again. In addition, it provides them enormous confidence and reassurance which they understand the music well, and that in itself aids in stage fright. One of the most powerful means of dispelling nerves would be to strengthen your pupils to alter their negative self-talk into positive self-talk and that is best nurtured when they're practising. Young musicians with bad nerves could have a great deal of negative inner talk going on in their heads. If it is there when they practice, it will certainly be there in performance. If they're negatively judgmental and significant of themselves, they are also likely to project that outwards in performance, seeing the crowd as judgmental and critical, and comparing themselves unfavorably to other performers. This creates a hazardous performing environment for the kids, and feeling unsafe may be disastrous for nerves. The following is an example of the type of commentary a pupil may have running if they are practising: �I�m this kind of idiot ... I all messed up ... it�s supposed to be an F # not a G.� And when the negative inner talk seems to have really embedded, it might continue: �Oh no, not again ... that was really bad ... I�ll definitely fail basically accomplish that ... I�m this kind of bad player.� Rather than judgmental, negatively critical voice that rips something to pieces, they need to look for a voice that is non-judgmental and unemotional, a voice which simply observes what has to be done: �Oops - which was a G instead of an F # . Why did I really do that? I don�t fully realize the way to play that bit. Maybe I want assist with my fingering.� A caring teacher can work wonders having a pupil that is facing these inner demons. With a bit of listening and sensitive handling, a pupil might come to grips with a selection of their fears, giving the opportunity to offer encouragement and support when they're most needed. Enhancing the professionals in an overly self-critical pupil, enhancing the pupil feel better about the music and identifying whatever they love regarding it can produce a massive difference in helping them to let go of nerves and enjoy the performance. using a pianist Dealing with the more obvious practical considerations before a performance may be just like significant as working with inner demons. For instance, pupils who aren't pianists themselves have to be shown the importance of using a pianist well in advance of their concert or exam. The music activity sounds so different with all the piano part and inexperienced players will need to get accustomed to that. Simply allocating here we are at these to practise having a pianist, not only once just some times, can give them a chance to feel secure and cozy with what they�re doing. doing several dress-rehearsals Giving a pupil a way to check out the performing venue beforehand is very valuable. They can hear the different acoustic, get accustomed to the dimensions of the area and find out where you should stand and where to look. You may also cause them to become learn what to complete when the piano stool or music stand are at a bad height and customarily suggest to them how you can settle themselves. All of this builds confidence helping a pupil understand what they�re working with. The greater experience they have of a performing situation, the harder they are going to feel in a position to handle any nerves they have. be sure you Breathe Breathing is indeed easy and yet amazingly powerful when dealing with nerves. Encouraging pupils to take slow, deep breaths since they are waiting calms the nervous system and helps oxygenate your body, which is required for performing well. Encouraging these to breathe when they are actually performing is also important. It is all too simple to fall into the trap of breath-holding when you are nervous, trying too hard or playing something complicated. Controlled breathing permits the body to wind down, calms nerves so helping both the technical and expressive components of performance. the performance itself Some performance etiquette can help. Encouraging students to smile, stand tall and appear confident since they walk on stage or in to the examining room - even when they don�t feel it inside - will help them to enter into a much better place. It may work wonders having a self-conscious teenager. Pupils have to feel that they are in control of the performance and that they can also enjoy it also if they get some things wrong. If disasters happen, encourage them to take deep, slow breaths to calm themselves also to keep on as if nothing has happened. Most of all, pupils have to know how the audience or examiner isn't there to choose them to pieces, but is on their side. Encouraging these phones make a really warm, supportive audience or examiner will assist them relax and feel less judged. If they then really embody this and practise it, they may be in the far better position to permit go of the nerves and actually start experiencing and enjoying the whole experience of performing music. Keep the cool Know very well what you might be performing, and realize it effectively Persevere with focused and effective practice Change their negative self- talk into positive self-talk Have the required time with your accompanist Get used to the performance space beforehand Be sure you breathe! Know your stagecraft and own your speed and agility |
