#61
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If you live in an area with a lot of open mics, if you choose one that's newer or less popular sometimes they'll let you play more songs meaning you have more time to face your fears. Once you realize public stoning is seldom the penalty for making a mistake, things get easier. Last edited by troggg; 12-30-2017 at 09:37 AM. |
#62
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I haven't had a chance to read all of the replies; my apologies if I am repeating any information.
A performance situation can be daunting. For most of us, it can be a very humbling experience where we realize that we don't know the music as well as we thought we did. Our minds edit out the worst of our playing, and we tend to remember the best of our playing. A performance situation is simply ANYTIME we are concerned about our playing. In front of hundreds, in a living room with 10 people, playing for a friend, or just simply knowing someone else is in the house while you are practicing. To play music well, every single detail has to be practiced and made into habit. Reducing or eliminating this concern is no different. It isn't something we just do without lots of practice. I highly recommend an old read called THE INNER GAME OF TENNIS by Timothy Gallway. (There was an INNER GAME OF MUSIC followup but I don't recommend it; the tennis book is better). Performance is something that also has to be practiced. Always. Part of the routine. Once New Repertoire is learned, it falls into the Old Repertoire. This is the music we have to play for others. That music needs to be regularly "performed" in a safe space so that you can begin replacing habits of concern with focus on how you want the music to sound. I tell all of my students that there are two types of errors: Major errors and minor errors. Major errors are any types of errors that cause you to hesitate. Minor errors are any errors that are a less than flawless performance, but cause no hesitation. If you make major errors, then the piece needs to return to new repertoire and more practice is needed. This is actually more common that one might realize. It reality, a piece may go back and forth from one category to the other several times before truly settling in the old repertoire category. This is great and is all part of the process of better learning the music. In short, you need practice performances. You need to pretend to perform these pieces regularly so that you may begin practicing dealing with minor errors. Minor errors are to be ignored and that takes practice! Lots of practice! You can simply imagine that you are walking out on stage, or into the living room, or where ever your imaginary performance takes place. You tell yourself, "this one counts." You then simply pretend to perform, covering up and ignoring the minor errors. To add a bit of dramas, you can turn your chair another direction, you can play in another room, or you can even record yourself with audio or video. Many times, this doesn't go as well as one would hope. This is actually very good news! It is highlighting the areas that need more work. Playing for others is not the time to be surprised. And that extra practice will make you more secure and confident. That means you will get less nervous. It is an upward spiral. Happy practicing! |
#63
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#64
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Thanks Todd - great advice..
__________________
Burguet AC-007 (2003 - Cedar/Rosewood) Webber OM (2009 - Sitka/Sapele) https://www.youtube.com/channel/UC8A...2TVEhWes2Djrig |
#65
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I have no desire to play in front of an audience, but I do have to play for my teacher. He's kind and says that he knows that all of his students play better when they're alone than they do in front of him, but still, I'd get frustrated that something I played well at home would be fraught with mistakes in front of him. One day at home I imagined him sitting in front of me. As soon as I did, I started messing up, just as I do in person! I kept practicing, imagining him there, and after awhile, I got better in front of the imaginary teacher as well as the real one! So now that's what I do and it's made a difference. So maybe you could try imagining an audience.
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Denise Martin HD-28V VTS, MFG Custom Taylor 358e 12 string Martin 00L-17 Voyage Air OM04 Breedlove Oregon Concert 1975 Aria 9422 |
#66
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Bob https://on.soundcloud.com/ZaWP https://youtube.com/channel/UCqodryotxsHRaT5OfYy8Bdg |
#67
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Thanks very much for this tip! I can't wait to try it. My big problem playing in front of my teacher is speeding up on intricate passages. I think this may help (that and counting out loud!). The more I play the more I have begun to understand that the physical side is only the tip of the iceberg, the real key to better guitar playing is between our ears Thanks again!
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Bob https://on.soundcloud.com/ZaWP https://youtube.com/channel/UCqodryotxsHRaT5OfYy8Bdg |
#68
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Good idea - will try this tomorrow! Thanks..
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Burguet AC-007 (2003 - Cedar/Rosewood) Webber OM (2009 - Sitka/Sapele) https://www.youtube.com/channel/UC8A...2TVEhWes2Djrig |
#69
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Bob and Peter,
Sheesh! I gave some advice that 2 peopled liked? I hope you guys will let me know if it worked for you. Good luck!
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Denise Martin HD-28V VTS, MFG Custom Taylor 358e 12 string Martin 00L-17 Voyage Air OM04 Breedlove Oregon Concert 1975 Aria 9422 |
#70
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I tried it last night at home and it certainly didn't hurt! I'll let you know after my next lesson
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Bob https://on.soundcloud.com/ZaWP https://youtube.com/channel/UCqodryotxsHRaT5OfYy8Bdg |
#71
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I played my first gig with a band at age 12 (in 1965). It went well and I have been comfortable playing in front of an audience since that time. I still get the "stomach flutters" right before going on, but I take that as excitement rather than nerves.
I've seen some advice here to ignore the audience... that doesn't work for me; I get positive energy from the audience and appreciate the feedback. In their eyes and on their faces. And, hopefully, from their applause. Unless you ignore them or are belligerent towards them (yes, I've seen that), they are on your side... really, they want you to do good. I interact with those I am playing for. When first starting to play for others, play simple stuff you have down. You don't need to impress them with your "fancy playing" as much as establishing a rapport. As you gain confidence and experience in front of others, work in the more difficult material. Don't play something that you "kind of know," until you are comfortable with making a blooper in front of people. Yes, you can get comfortable with that... I have said, "I try to put one little goof in each song to make sure y'all are listening. If you play it perfect even once, people expect that all the time - who needs that kind of pressure?" It gets a chuckle. One last bit of advice: no one actually dies of embarrassment. Have fun with the process as you learn to get more comfortable in public. I have had many people, even those who are close to me, say, "I could never do that." (Play, sing, or speak in public) It is a very real fear, and it isn't for everyone. If the nerves are too much, you can always say, "Not for me." If it is something you can learn to enjoy, it is a rewarding experience. |
#72
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Thanks Jim...
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Burguet AC-007 (2003 - Cedar/Rosewood) Webber OM (2009 - Sitka/Sapele) https://www.youtube.com/channel/UC8A...2TVEhWes2Djrig |
#73
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A few things that might help (most of which I have successfully tried).
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#74
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Are you dead yet?
See you were wrong.
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Waterloo WL-S, K & K mini Waterloo WL-S Deluxe, K & K mini Iris OG, 12 fret, slot head, K & K mini Follow The Yellow Brick Road |