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Originally Posted by AZNpiano
Originally Posted by malkin
Well, I did have a drama teacher who would announce after scene performances, "That was dreadful, but nevermind. You're going to do it again."

You can replace "dreadful" with 50 other synonyms for "awful," and you get a picture of how I teach.

One thing I'm certain: My students will have a colorful vocabulary of descriptive adjectives.

You misrepresent yourself. You make yourself out to be a heartless monster in this public forum, and you're really a nice guy. I'm actually tougher than you at times. wink

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Originally Posted by bennevis

At the second - and last - festival I'll ever attend, I saw a ten-year old kid play the finale of a Haydn sonata. He was shaking visibly, and almost pushed onto the stage by a woman (I think it was his teacher). He started much too fast and was totally out of control, with clusters of wrong/missed notes everywhere, and he sped up even more as he desperately played on to the end. There was sympathetic applause from the audience and the judges, but I saw another woman (probably his mother) almost pull him by his ear out of the hall, and he was in tears.

There is a whole universe of difference between wanting to perform and being nervous about it when the time comes to do it and being forced to perform against your will.

I'm all for the first, totally opposed to the second. I have never EVER pushed someone to perform who did not want to do it.

However, we also need to find out what is causing the fear for those who potentially could enjoy it but are missing something that would make them successful.

I am totally opposed to ever playing in front of people from memory without having at least a handful of successful experiences playing in front of people with music.

When people read well, no matter what happens they can recover.

When they play from memory without experience and without training in how to do it, when things go wrong it can be an absolutely terrifying experience that stays with them for the rest of their lives.

My aunt had such a bad experience. My grandmother was a piano teacher, and my aunt had a memory lapse in a "recital" and was terrified ever after of playing in front of people.

My best adult student was forced to play in a recital - I call them "rectals" - and she developed a hate for performing even though she did not have a total wreck.

Even though I eventually learned to play from memory in front of large numbers of people, I hated it and still do.

So a huge amount of the fear comes from the absolute dictatorial and very stupid idea that only performance from memory count as valid performances. This thinking makes me absolutely furious and I have fought against it my entire life.

When you hear people talk about nerves, chances are about 95% that they are talking about performing from memory.
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It was the most disheartening and humiliating scene I'd ever seen in my life.

I've seen that kind of thing too. I think teachers like that are utterly disgusting. What kind of heartless control freak does that to kids!!!!

Last edited by Gary D.; 12/03/16 02:49 AM.
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Originally Posted by Gary D.

I am totally opposed to ever playing in front of people from memory without having at least a handful of successful experiences playing in front of people with music.

When people read well, no matter what happens they can recover.


I agree. Why take the risk? If it's not 100% solid, use the music. And even if it is 100%, with nerve pressure you're down to 80%.

Or, you can be too comfortable.

Last Sunday the organist asked me to direct the choir anthem at the last minute - the organ rhythms for Cantata 140 are so different from the voice parts the choir could not find their entries.

Sure, glad to do it, though it's a bit of a pain holding music in the left hand directing with the right, because reflexes to use the left hand kick in. And page turns are a pain. Given time I'd have grabbed a stand, marked the entrances, tabbed the pages for turning, the stuff you might not need to do but you do anyway.

About 3/4 of the way through it started going really really well. Too well. I relaxed, the DMN kicked in, and suddenly I was completely lost in a piece I knew well, and couldn't for the life of me figure out where the organist was. I knew when we missed the big entrance though. The alert organist recycled the previous measure and I brought them in. I would have liked to say bad words but it was after all church.


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My teacher used to do group lessons with peers at about the same level about once a month, and during that time we would perform for each other. It gave us a pretty good idea of how a performance might go.

I'm pretty sure I've been that student who did poorly and came down in tears at least once. Probably got a hug from my teacher.


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Originally Posted by kissyana
Cardio practice! If your student is anything like me, she will get nervous no matter how well she knows the music. One of the most effective methods to deal with this in my experience is to do what I call cardio practice. Do some jumping jacks or burpees or run in place... whatever gets you out of breath and all shook up. Then immediately go to the piano and play as if you were giving a performance. Do this a bunch of times! This will get you used to playing with a pounding heart, shortness of breath, shaky hands (and other parts!), extra sweating... the typical physiological symptoms of performance anxiety.
That's genius, kissyana. I'm going to try that myself as well as for my students.

The best thing for most people is just to play in front of other listeners as much as possible. The more you do it the less scary it gets. For every piece you perform for the first time, it's good to give it some non-threatening performances first: make a recording, video yourself and send it to someone, play in front of a few friends, in front of kid's music class, in front of relatives/neighbors. Or for a really experienced performer the teacher's studio recital might actually be the non-threatening performance, before going into an audition or competition or other higher-stakes environment.


Heather Reichgott, piano

Working on:
Mel (Mélanie) Bonis - Sevillana, La cathédrale blessée
William Grant Still - Three Visions
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