 by Jenny Leigh Hodgins If you’ve been following my piano practice blog series, you know my strategy for how to spend time at piano for the most effective progress. If you missed those, check out: My Best Tips On How To Practice Piano Part 1, My Best Tips On How To Practice Piano Part 2 & My Best Tips On How To Practice Piano Part 3, where I walk you through my effective piano practice strategy in detail. Continuing in your piano practice routine, you should practice each goal in this manner (as described in previous blogs above) for as long as you are able to muster full effort. Repeat the same practice process with your next goal, aiming to successfully play through several times in a row. Stop if you make a mistake, or when you lose mental concentration. Remind yourself of your selected goal and reset back to the start. If you’re unable to keep your mind on things after awhile, or continue making the same mistakes, it may be time for a change. This brings us to decide What To Do If You Keep Messing Up At The Piano! Starting anew without success after multiple attempts means you’re either doing something to block your progress, or you simply need a break to refresh yourself. If you simply didn’t achieve your goal, in addition to stopping and returning to the beginning, you must change your approach. Take A Closer Look At The Problem When I’ve chosen a specific practice goal, but continue having problems getting through the music successfully, I take a step back. By that I mean to take a closer look at the problem section. Analyze the trouble spot, looking for clues about what’s tripping you up. This often reveals a less obvious practice goal that you must focus on first, before moving on to your previously selected goal. In other words, you’ve taken on too much at once. Bite off only what you can chew, one morsel at a time. How do you find the trouble to know what to practice? Ask yourself questions relevant to your music and piano playing level. If you’re a beginner, you may ask;
If you’re more advanced, you must ask questions relative to your level, too.
Troubleshooting As A Target These are simply examples of questions. You must look at your music specifically to break things down, one issue or item at a time, deducing where, within the music, you are completely confident you’ve mastered each aspect of your analysis. When you find a point where you are struggling to focus or answer a question, you’ve found a trouble spot! An effective piano practice routine constantly involves this kind of reflection, and then zeroing in to practice only that section or areas that cause any issues. The way to accomplish more at your piano is determined by how much mental energy you’ve spent during your time at the piano. When you push yourself to be more conscientious of each moment and every phrase of your musical assignments, you will reap huge rewards with advancement as a musician. But what if you’ve gone through this intense effort and you’re still having issues? I know how frustrating that may be, but there are two solutions that usually resolve any trouble areas. Play It Slower, Sam Most commonly, the solution to the problem is a slower tempo. Your next best step would be to stay focused on the originally selected goal, but play through your musical section at a much reduced speed. Playing music at a slower than usual tempo is often the most challenging kind of practice. Quite the opposite of most people’s impression that fast is impressive. (Though it can be, often piano players of fast passages easily find themselves relying on physical muscle memory, which, as mentioned earlier, is like a fragile house of cards!) Sometimes we’ve made the mistake of relying solely on our muscle memory to play through musical passages. When the tempo is slowed down, that kind of false scaffolding is stripped away, leaving us to use our cognitive skills and tune in to refine our kinesthetic senses. This can feel like having the training wheels of a bicycle removed. We start off wobbly and lacking confidence or balance. But when you slow the tempo, you allow yourself enough space in your brain to be fully mindful of each practice goal, whether it’s the notes, rhythm, fingering, dynamics or all these combined. If you’re able to play slowly enough to completely master each aspect of the music (whichever goals you’ve chosen to practice), you will gradually come away from piano practice with a deeper grasp of the music, both internally and physically. But playing music that is familiar to us at a deliberately slower tempo can also cause us to trip up. This is even more basis for the argument to slow your playing enough to thoroughly choose and focus on one practice goal at a time until it is mastered. Underwater Slow Motion Effect One of the biggest problems with slowing down is that we’ve developed bad habits of playing at a tempo too fast. This tempo is stuck in our aural memory as well as our physical muscles. This makes for a tougher barrier to get through. What I suggest is to look at your music through a new lens. Go to the extreme with your imagination. Pretend you’re playing through the musical phrase as if you are in an underwater film scene using a slow motion effect. Yes. That slow. Be intentionally and dramatically slower than the slowest tempo you can feel. If it’s hard to keep the beat at that new tempo, set the metronome at the most ridiculously slowest tempo you can feel. Play the music along with the metronome. If necessary, count aloud before you play, clapping out or tapping the rhythm on your legs first. Then play through with this tempo using the metronome. Once you’re able to sense the steady beat of this willfully chosen slow speed, go back through the passage following your effective piano practice routine. Stop if you make a mistake or lose mental concentration. Aim again to play at this slow tempo correctly three times in a row. Discovering Your Musical Weaknesses Typically, playing slowly in this manner will reveal problem areas you hadn’t discovered while playing at the faster tempo. Even better, playing slowly will allow you to more deeply and clearly master previously chosen practice goals. This kind of practice brings you much more quickly to the kind of cognitive engagement necessary for lasting piano progress. Why? Because you’re finally going slow enough to allow yourself to fully think consciously and consistently toward your chosen practice goals. You may have thought you’d already surpassed this level of practice at your faster tempo. But the majority of the time, slower practice will take you further and, ironically, faster in piano progress. What Should You Do If You Keep Messing Up At The Piano? If you’re unable to keep your mind on things after awhile, it may be time for a break. This kind of prolonged, intensely concentrated effort cannot be sustained for long. Especially if you’ve just begun using this piano practice technique. It’s perfectly normal and advisable to take a break when you’ve hit a plateau, lost your ability to pay attention to your set goals, or make mistakes repeatedly. Our brains need a moment to refresh. You could choose to play through something without concentrating, just for the enjoyment of it. Choose something at a much easier sight-reading level, a previously mastered piece, or improvise for the sheer fun of it. Play It Again, Sam Once you’ve taken a short break, try again with renewed determination. You may find a burst of energy that helps you continue your intentional, slow tempo practice. You may notice already, a degree of improvement, fluency, muscle recall, or musicality emerging. This is a wonderful experience, bringing a joyful sense of accomplishment and newfound confidence as a piano player. Enjoy that! It will keep happening again and again, each time you challenge yourself to give your all mentally to your piano practice sessions. If you’re experiencing the opposite, unable to play without mistakes, or just can no longer focus at the practice goal with a slow tempo, you may need to leave the piano completely for a change of pace, scenery, a meal, drink, or even rest. Celebrate and acknowledge your efforts no matter what! Each day, each hour, each moment that you’re forging your complete focus on piano practice in the way I’ve described in this series is an incredible accomplishment. You’re making progress step by step, sometimes without realizing it until you look back and see how far you’ve come in your musical skills! I’d love to hear from you. It means a lot to me that my content is helpful. Please take a moment to join the conversation below to let me know if this blog is helpful to you, or if you have questions or suggestions! If you’re a piano teacher, feel free to leave one of your favorite piano practice tips in the comment section! Annnnnd...if you loved this blog don't forget to show your awesome support by sharing/liking/retweeting the link! Subscribe for more updates! Recommended articles: My Best Tips On How To Practice Piano Part 1 My Best Tips On How To Practice Piano Part 2 My Best Tips On How To Practice Piano Part 3 What Do You Need To Know, Have, Or Do To Begin Piano? Find A Good Piano Teacher Your Top 5 Best Tips From A Piano Teacher What’s The Best Way For A Busy Adult To Learn Piano? What Keyboard Do I Need For Successful Piano Lessons? How Learning Piano Benefits Aging Adults What To Do About Piano Practice When You Have An Injury DEVELOPING PIANO TECHNIQUE TIPS FOR LEFT & RIGHT HAND COORDINATION COMPOSING FOR PIANO Connect with YourCreativeChord on Pinterest, Instagram, Twitter, Linkedin and Facebook! What You Need To Know, Have & Do To Start Piano Right! Ebook
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 Hobbyist Pianist Tommy Doyle, of Manchester, United Kingdom Tips For Adults Who Want To Learn Piano
by Jenny Leigh Hodgins In my quest to see if what I’ve learned in 30+ years as a pianist and piano teacher is in sync with other piano teachers and pianists, I’ve checked out Facebook piano groups. This is where I engaged in a thread on piano practice with hobbyist piano player, Tommy Doyle, of Manchester, United Kingdom. Doyle’s website, https://tommyspianocorner.com is where he shares his journey as someone who studied piano in his youth, left it behind for many years due to ‘adulting,’ then returned to the piano as a hobby. His blog offers his insights on how to approach learning piano while juggling the working adult’s non-music-related daily responsibilities. Although not a piano teacher, hearing from Doyle’s personal journey with striving to fit in his love for piano minus the hyper-ambition of a classical piano career gets at the heart of what many aspiring pianists want to know. I asked Doyle five questions that are useful for those wanting to progress at piano playing. The first sentence of his first answer hit the essence of my philosophy and teaching strategy for effective piano progress. YCC: What are your top piano practice tips for beginners? DOYLE: My top tip for anybody wanting to learn to play piano is to learn how to practice piano. This might seem a self-evident thing to say, however, the reality seems to be that many of us never learn the art of practicing. In my experience, we often find intuitive ways of doing things and in these cases if we just repeat a few times, we soon acquire a new skill. However, when we don’t find that intuitive means, we have to find a way to learn a new skill. This is where practice techniques play a big part. If you’re unable to do something, then just repeating it incorrectly isn’t going to help. I found a couple of really useful resources in this respect that I’ve talked about numerous times on my blog. YCC: Doyle specifically recommends the Practicing The Piano ebook series by pianist/educator, Graham Fitch. Fitch is highly qualified as a graduate of London’s Royal College Of Music who continued his piano studies in the USA on a Fulbright Scholarship, and travels as a performing pianist and lecturer on piano and music. I haven’t personally used Fitch’s series, but on first glance at the preview on Amazon, some of his top tips for practicing include; choosing a specific fingering, attention to practice only correct notes or rhythms, isolating hands separately before playing hands together, choosing a slow tempo for new repertoire, and using soft dynamics for a loud section. Each of these methods is something I’ve used myself and in teaching others, and resonates with my teaching and practicing approach to focus on mastering one goal at a time, and to eliminate practicing mistakes robotically. Doyle especially likes the ebooks for their direct links to audio and video demonstrations as part of the piano learning process. This is in sync with both how my piano teachers taught me, and my approach as a piano teacher to model for students so they may grasp concepts aurally, physically and visually. Today’s online capabilities can be a useful source of help for piano students. For more information on the series, Doyle himself reviewed it here. YCC: What are the basics you recommend for someone who wants to begin learning piano? DOYLE: I highly recommend that anybody start by getting a teacher. I’m not saying you can’t teach yourself with sufficient research and trial and error, with the myriad of resources now available online. It’s definitely possible. However, I think there’s an absolutely massive learning curve at the beginning (depending on your starting point). Not only is there the issue of actually playing the instrument, there’s also the question of learning to read music. Finding a good teacher to get you over these two massive initial hurdles is to my mind a well worthwhile investment. A teacher is there to help you master the very basics - how to sit at the piano, how to hold your hands, how to play the notes. You teacher can also explain what those odd dots on the page actually mean and give strategies for absorbing the ability to translate these into notes at the piano. A good teacher will also help you get to grips with lots of the basics you need; Scales, Arpeggios, 5-finger exercises and the like. Learning how to do these well gives you the absolute essential building blocks for the rest. Your teacher will also help you with choices of pieces (music repertoire) to learn that are both within your grasp but also in terms of styles of music you enjoy. YCC: What are your thoughts on online learning for piano? DOYLE: I’m a firm believer that we should embrace the possibilities that the new online world offers us. Starting with YouTube, there is an enormous wealth of quality tutorials for people of all levels. YCC: Doyle has his favorite channels, but mentions the importance of checking into the background experience of videos to confirm credentials of expertise. He recommends Josh Wright, who is both well known on YouTube, has a doctorate in piano, and is an experienced teacher. Doyle doesn’t use apps himself, but “as a supplement to a proper teacher, I’d imagine they’re a great extra source of learning and certainly a very fun way to approach piano. Of course, claims that you can go from ‘beginner to pro in no time’ are total nonsense.” Doyle quotes Vladimir Horowitz (considered the king of classical piano) the piano is “the easiest instrument to learn in the beginning and the hardest to master in the end.” YCC: Do you have any technology you’d recommend for piano students? DOYLE: Technology is one of my pet subjects. I even created a category on my blog for this. What I find amazing even now is the absolutely amazing ways technology can be used by pianists now. I have an iPad Pro that I use as an integral part of my piano routine. This one piece of technology has replaced my need for sheet music (I download directly to my iPad), for a metronome (I use a free a metronome app). I keep my practice diary on it. I use it to record my practice so I can self critique. It’s pretty much always on my piano music stand. You can use it for things such as streaming music services, watching YouTube videos, reading magazines, the list goes on. You can even record your own orchestra into your computer and play along. I think that sometimes we more ‘mature’ learners fail to embrace what technology makes possible and stick with the ‘old way’. It’s a bit like my dad, who refuses to use a SatNav (GPS), just because he’s never used one and, on that basis, would never need one. It’s not about whether we need something, but about whether it makes what we’re trying to do easier. If technology can make things easier, then why not embrace it? When I used to play piano publicly, I needed to carry two massive plastic bags of music around with me with all sorts of photocopies and creased and wrinkled books. Now, on my iPad, I have all of my music organised, with the added advantage that I can search and find a piece in seconds rather than needing to sift through a lot of paper. YCC: What are your thoughts on time and schedule routine for piano practice? Doyle shares that reading Play It Again: An Amateur Against the Impossible by Alan Rusbridger inspired him to create his weekday before-work practice routine. He says he gets up an hour earlier in the morning so he can practice. DOYLE: I found that before I started doing this I had two major problems. The first was that it was always in the back of my mind that I still needed to fit in my practice at some point. Secondly, work would frequently take over, and by the time I actually got home from work I was too tired to sit down at the piano. My practice routine before was pretty much sitting and randomly working through things, which quite often was not actually making me any better. YCC: Doyle says his research into piano practice taught him the importance of having a proper plan. He says having defined goals and strategies for every practice session is a “real game changer.” Doyle emphasizes that “piano is an amazing hobby open to anybody. It’s definitely a lot of hard work, but the rewards are more than worth it.” Click here to read more about Doyle’s approach to piano practice. I’d love to hear from you. It means a lot to me that my content is helpful and empowers you. Please take a moment to join the conversation below to let me know if this blog is helpful to you, or if you have questions or suggestions! If you’re a piano teacher, feel free to leave one of your favorite piano practice tips in the comment section! Annnnnd...if you loved this blog don't forget to show your awesome support by Liking the link, Subscribing for more updates and adding your comment below! THANK YOU FOR SHARING this with a friend on social media or email! Recommended articles: My Best Tips On How To Practice Piano Part 1 What Do You Need To Know, Have, Or Do To Begin Piano? Find A Good Piano Teacher Your Top 5 Best Tips From A Piano Teacher What’s The Best Way For A Busy Adult To Learn Piano? What Keyboard Do I Need For Successful Piano Lessons? How Learning Piano Benefits Aging Adults What To Do About Piano Practice When You Have An Injury DEVELOPING PIANO TECHNIQUE TIPS FOR LEFT & RIGHT HAND COORDINATION COMPOSING FOR PIANO Connect with YourCreativeChord on Pinterest, Instagram, Twitter, Linkedin and Facebook!  Piano Practice When You Have An Injury By Jenny Leigh Hodgins
Today’s Piano blog features the ideas provided by Veteran Piano Teacher, Dawn Ivers, of Kansas, in her blog, Broken Arms & Sprained Wrists. Ivers runs a successful piano studio in Kansas and was recently featured in her local newspaper, McPherson Sentinel. See Iver's article on tips for handling stage-fright (featuring ideas from my blog, How To Turn Your Nerves Into Good Energy.) Yikes! What do you do about piano lessons when you (or your child) have an injury like a broken wrist, a sprain, or jammed fingers? Is it best to take a break until the injury has healed? Or would it be best to press on with piano practice and lessons? Piano Teacher Recommendation I recently came across Kansas Piano Teacher, Dawn Ivers’ blog about this on her website, dawnspiano.com. Of course, performances would obviously need to be postponed, unless the program consists solely of one-handed repertoire. But I wholeheartedly agree with Ivers’ recommendation to press forward with both practice and lessons. Why and how are the important questions to ask. Why Should You Continue Piano When You Have An Injury Stopping piano practice when you have an injury risks the loss of momentum with your piano progress. It’s challenging to get your groove back if you’ve sat it out for more than a week. Our muscle memory, not to mention our brain’s recall, suffers from inactivity during gaps in time. Absence Makes Learning Harder This issue was never more apparent to me than during my years as a public school music educator. Students returning to music class after winter, spring or summer break had glaringly forgotten large chunks of information, musical and even social skills. This is why the first several weeks of public school music classes were spent on review and hands-on immersive practice. Moving forward without these refresher activities caused more frustration for students and decreased successful learning in the music classroom. Fortunately, with piano lessons, the student or parent of the student has the option of moving forward despite an injury. The critical point is how you focus your piano practice to accommodate the injury. How To Practice Piano Is Key If you’re dealing with an injury, fortunately, there are lots of ways to move forward while working around it. In her blog, Ivers offers no less than eight piano practice strategies for continuing musical progress while accommodating an injury. Often, budding pianists get in the habit of relying on two-handed playing, leaving other weaknesses unattended. The healing period for an injury provides a great opportunity to strengthen those areas. Ideas For One-Handed Piano Practice In her blog, Kansas-based piano teacher, Dawn Ivers suggests practicing sight-reading, one-handed duet practice with a partner, pedal practice, technic and solo pieces for one-hand, and honing scale and musical theory while building improvisation skills through one-handed practice. Duet Practice Helps Sight-Reading & Rhythmic Skills I agree with Ivers focus on using the opportunity for duo playing. In my piano studio, I often honed in on a piano student’s sight-reading, rhythmic, or technical skills by having them play one hand while I played the opposite part. This is a great way to have the student focus on developing better notation reading skills, or to provide more practice for those struggling with maintaining fluency with rhythm. By playing duets with the piano teacher and only having to play with one-hand, the student’s technical skills may be addressed. This works particularly well when the teacher guides the student with a slower practice tempo. One-Handed Improvisation Opens Creative Expression I often found students more engaged when providing the chance to improvise in a duet. One strategy is for the piano teacher to provide a simple, harmonic progression while the student is assigned an allotted key signature and a specific range of notes and/or fingering. The student practices improvising in this manner, learning from limitations with the use of specific form, fingering, rhythmic or melodic phrasing. The restriction of having only one hand to practice takes the pressure off the student. I have found that many students open up more creatively with this type of stress-reduced activity. Forging Musical Comprehension Through Music Theory Ivers also recommends more time spent on games and exercises to develop musical theory expertise. Often, time runs out during a piano lesson before the piano teacher can fully address the student’s musical theory needs. Using the injury healing period to work on those music theory topics is time well spent toward greater piano mastery. Assigning music theory worksheets or other theory-based work throughout the week gives the student the chance to build their musical understanding. As the student grasps theoretical aspects, he or she expands musical comprehension on multiple levels, contributing to a greater performance mastery, and a deepening confidence. Students Tap Self-Expression Through New Approach Ivers also points out the opportunity to develop musical composition abilities while a student’s injury heals. This is a great way to encourage students to try something new, engage their personal interests and encourage self-expression. Lessons could be spent teaching compositional aspects and allowing the injured student time to learn more about notation, intervals, chords, scales, fingering, form, key analysis, melodic phrasing and rhythmic patterns. Lastly, Ivers suggests taking time to work on rhythm and sight-reading. This is one of my favorite ideas, as students can solidify understanding and better grasp rhythmic and meter issues when the focus is narrowed to the use of only one hand. If you or your child has an injury prohibiting piano practice with one hand, consider these suggestions as encouragement to continue musical progress throughout the healing period. For more information from our featured piano teacher, Dawn Ivers, her piano studio and informative blog, click here. I’d love to hear from you. It means a lot to me that my content is helpful and empowers you. Please take a moment to join the conversation below to let me know if this blog is helpful to you, or if you have questions or suggestions! If you’re a piano teacher, feel free to leave one of your favorite piano practice tips in the comment section! THANK YOU FOR SHARING this with a friend on social media or email! Recommended articles: What Do You Need To Know, Have, Or Do To Begin Piano? My Best Tips On How To Practice Piano Part 1 My Best Tips On How To Practice Piano Part 2 My Best Tips On How To Practice Piano Part 3 What Do You Need To Know, Have, Or Do To Begin Piano? Find A Good Piano Teacher Your Top 5 Best Tips From A Piano Teacher More Tips On Handling Stage-Fright Featured In Dawn Iver's Piano Teaching Blog Here. What’s The Best Way For A Busy Adult To Learn Piano? What Keyboard Do I Need For Successful Piano Lessons? How Learning Piano Benefits Aging Adults DEVELOPING PIANO TECHNIQUE TIPS FOR LEFT & RIGHT HAND COORDINATION COMPOSING FOR PIANO What Should You Do If You Keep Messing Up At The Piano? Belief In Your Own Creative Vision Keep Looking For Moments Like These To Celebrate & Appreciate How To Use Nature To Reinvigorate Your Spirit You can also find me on Pinterest, Instagram, Twitter, Linkedin and Facebook!
 Prepare well to overcome stage-fright. by Jenny Leigh Hodgins
HOW TO HANDLE STAGE-FRIGHT Throughout my music teaching career, my music students have either asked me how to overcome stage fright, or have been nervous enough to warrant a discussion on the topic. Getting performance jitters is a common experience among performers. I have personally experienced it, so I understand the concern! When I first starting performing as a solo pianist/vocalist in my twenties, I used to get so nervous I’d throw up before a performance. Onstage, my legs and hands felt like they were shaking so hard I feared people saw me gyrating! Playing piano for performances, my right leg and foot shook like a hyper-active sewing machine pedal. Performing as a vocalist was similar. My heart beat so loudly, I thought it would fly out my throat the moment I started to sing. Fortunately, I learned to tame the stage-anxiety beast. I have four suggestions that worked so well for me, I wound up as a professional solo pianist/vocalist for 25 years! I also taught and spoke for many years in front of global audiences from 50 to thousands. Of course, I’d still sometimes feel nervous before a performance or presentation, but I employed the four suggestions I’ll share here to help you completely win over stage-fright. RINSE, REPEAT, OFTEN! My first suggestion is to get as many performing opportunities as possible and frequently! Desensitizing to the scenario, performing frequently, takes the sting out of it. Find a way to play for family, friends, church, spiritual groups, libraries, schools, meet ups, anybody, and anywhere! If you can’t find someone to perform for, video or audio-record yourself and pretend it’s a performance! Ignore any mistakes and continue on without stopping. Later, watch or listen to your performance for tips on sections where you may have tripped up. Analyze why. This is also a great way to evaluate your practice routine! Making mistakes is usually due to lack of thorough preparation. DO YOUR HOMEWORK! This leads to my second suggestion; prepare well. In hindsight, most of my nerves were due to lack of confidence in my performance because I simply had not prepared well enough. I tackled that aspect with a vengeance in my practice routine, determined to master every note of a performance. I especially practiced any particular section where I did not feel fully confident, because when nervous, I’d lose it on those sections! I practiced enough to memorize every detail of a piece. Any section that I was even slightly unsure of was what I went after with a gusto—until I knew the music inside and out! I NEVER relied solely on finger memory for a performance. I made sure to memorize everything, including key, scale, harmonic analysis, form, melodic phrasing, fingering, dynamics, patterns, etc. If I did not know the piece fully inside my mind away from the instrument, I knew I was not prepared well enough to perform it. SEE YOURSELF…THERE I visualized myself in the specific performance scenario. Even better if I could actually practice in the performance venue. This eliminated the element of surprise and created a familiarity (back to ‘desensitizing’). I practiced performing while envisioning it as the real performance, including as much detail as possible. I imagined the people there, the color of the walls, the lighting, the aromas, my piano, the stage, and that the audience was loving the performance. I especially imagined feeling confident, enjoying the music, and performing successfully. I practiced this kind of visualization while playing the music repeatedly, until I felt a sense of assured mastery over the music. Once I had prepared well, practiced consistently, memorized entirely, and used imagery, I knew I had tackled the music enough to perform. FIND THE TRUE PURPOSE Lastly, I shifted my focus away from myself and directly fixated on the music for the audience’s benefit. To me, nerves simply indicated my ego. If I was focused on judging my musical ability, that was my vanity or ego, which is completely irrelevant in musical performance. Why? Because for me, the musician is only the middleman, the vessel, or messenger, of a much greater purpose; the MUSIC reaching the audience’s hearts. Once I learned to shift my attention away from myself, I could center all my being on bringing the power and spirit of music to life. The purpose of the music became connecting with or giving something positive to the heart of another human being. I reminded myself that performing music has less to do with the performer than it does with human connection. It doesn’t matter whether there may be several, or a hundred, or a thousand human beings in the audience--it all comes down to heart to heart communication brought alive through the universal medium of great music. FIND THE BIGGER PICTURE Whenever I concentrated this way, I humbled myself sincerely to achieving the task of sharing the great power of music with another heart. Focusing on this true purpose of musical performance took every ounce of my sincerity and effort, leaving no room for vanity or ego to get in the way. I’m a Soka Gakkai International - USA Buddhist, so I still chant before every performance (or when I compose or write) to use my best life-state in harmony with the music as a tool for uplifting the audience, and to spiritually communicate human potential. This has never failed me. Prayer of any kind shifts one’s heart toward a greater purpose, and to view things from a perspective different from ego. Any performance I have witnessed that truly moved my heart or life was one in which the communication through music was the focal point--not the performer. NERVES ARE GOOD ENERGY One last comment; I’ve taught music/choral/piano students never to be afraid of or attempt to escape nerves—because that incredible energy can be transformed into an exciting, moving performance. Nerves are GOOD because they make you alert and aware of doing your very best! SLOW YOUR ROLL WITH BREATH Even a seemingly negative thing like nervousness can become positive when you choose to direct it. Use your nerves as a wonderful sign that you care about doing a good job! Turn that sincerity into exciting energy for a performance that inspires with vigor. Breathe deeply and slowly while keeping the above points in mind to help control the physicality of excitement. Be intentional as you practice these four suggestions to transform stage-fright into supportive energy for your successful performance! Share your victories or tips on how you handle stage-fright in the comments below! Thank you for showing your love of my content with a LIKE or by sharing this blog with others. Recommended articles: My Best Tips On How To Practice Piano Part 1 My Best Tips On How To Practice Piano Part 2 My Best Tips On How To Practice Piano Part 3 What Do You Need To Know, Have, Or Do To Begin Piano? Find A Good Piano Teacher Your Top 5 Best Tips From A Piano Teacher More Tips On Handling Stage-Fright Featured In Dawn Iver's Piano Teaching Blog Here. What’s The Best Way For A Busy Adult To Learn Piano? What Keyboard Do I Need For Successful Piano Lessons? How Learning Piano Benefits Aging Adults What To Do About Piano Practice When You Have An Injury DEVELOPING PIANO TECHNIQUE TIPS FOR LEFT & RIGHT HAND COORDINATION COMPOSING FOR PIANO What Should You Do If You Keep Messing Up At The Piano? Belief In Your Own Creative Vision Keep Looking For Moments Like These To Celebrate & Appreciate How To Use Nature To Reinvigorate Your Spirit You can also find me on Pinterest, Instagram, Twitter, Linkedin and Facebook! |
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