#1
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Harder to play more refined during live performance?
I'm increasingly incorporating finger style playing into my practice repertoire, and I'm gradually becoming better at it and enjoying it a lot. I like to often start soft finger style, then switch out to strumming and build the dynamic. Only problem I've been finding is that although I plan to do the finger style when I'm playing live, I often find I've gone through the whole show and not used fingerpicking at all.
Has anybody found this mental barrier? How do you manage to push through? Steve
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#2
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I know what you mean, because of the adrenaline that kicks in when playing live, it's difficult sometimes to control the independence of the right fingers (or plucking fingers). It becomes easier to use the whole hand, and you find yourself strumming rather than picking. I sometimes have to anchor my palm.
I've found right finger exercises helpful, before a show, warming them up so to speak. Other than that, its just a matter of practice, control that adrenaline, don't let it control you. |
#3
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That's why banjo players are so weird - they have much to think about!
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Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom! |
#4
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Absolutely. I play acoustic. When I am performing in public, it seems the only level of play that I trust is basic, basic, basic. It is so true that I've spent a lot of time re-analyzing what goes into my accompaniment style so I can break it down into simpler and simpler parts. It probably means I'm playing more cleanly, but lead breaks become intimidating.
For me it's two issues. First, so much more is happening in a live performance than in other playing environments that my attention is spread pretty thin. So I'm super distracted. Second,I do most of my practice sitting down and most of my performance standing up. The instrument hangs differently and lots of things I rely on get changed. For instance, I never appreciated how much I watch the fretboard until I played with the plane of that surface off angle just enough so I couldn't see where my fingers were. Had to learn to depend on the feel of it. Stuff like that may seem insignificant until you're out there on your own. I think there's only one real solution to this: we need to log more hours in live performance. Just gotta find ways to work through it.
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Taylor 815C '59 Gibson LG2 Washburn J4 jazz box, ebony tailpiece Gold Tone open back banjo Anon. mountain dulcimer Creaky old Framus 5/1 50 About 1/2 of Guitar One completed; currently intimidating me on account of the neck geometry. Stacks of mahogany, spruce, maritime rosewood, western red cedar Expensive sawdust |
#5
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Good thoughts guys. I think you're right in that I tend to revert to the most basic/simple style. I find it's even more true when I'm leading a sing-along, or playing with other players. I think I'm going to forget about moving from finger style to flat pick and focus only on finger style for several songs in each performance. I'll build dynamics in other ways. At least this will ensure that I get in some finger style.
I also think that I'm going to spend more of my practice time doing finger style versions of all my songs. Perhaps if it is more second-nature, it will come more easily during performance. Steve
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Visit me at: http://gitrboy.blogspot.com/ http://www.youtube.com/user/Nekias1/videos |
#6
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I always play an easier song first. Even then, sometimes my fingers seem to tighten up when I start a fingerstyle piece. I just keep going, trying to get them working and it takes about 10 (long) seconds for them to do what they did over and over in practice. Also when I make an error, I get a bit upset, and that helps me to re-focus and play correctly. If you practice a lot, and play for others as often as you can, it almost always gets easier. If not, it might be best to drop the song altogether.
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Neil M, Ottawa, Ontario, Canada |
#7
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I know for me that I have to practice finger style without looking in order to play it on stage.
Or to practice playing it while I am standing , just as I will be when I perform it. My internal selves quarrel over the matter of sufficient eye contact with the audience. Sent from my iPhone using Tapatalk
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#8
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Quote:
I don't actually like it when a performer makes eye contact with me - and I certainly don't like it when I'm performing if I make eye contact with anyone in the audience! I think if you're an extrovert, you'll naturally be making eye contact all the time and that's fine. But if you're naturally introverted, it's not going to help to force yourself to look at the audience. If it makes you feel and look awkward, it's as embarrassing for them as it is for you. You have to feel as comfortable as possible up there, and not be trying to fake anything, or act in a certain way because you think you're supposed to. Be yourself, whatever that is.
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#9
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#10
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I'm not sure whether this is the same thing you are noticing, but for me, when I play at home, I naturally play softer, with more delicacy. Then, when in front of people, I drift into playing louder (also because I may sing louder), which adds more tension in my right hand, less dynamic range, and as someone said, I may start adding strumming parts to add volume where I might not usually do that.
Oh, and...I tend to play faster if there is an audience.
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