piano, piano student, piano teaching

Student: “I get so nervous when I play for you!” The Teacher responds!

As mentors, we can easily recall our student days when well-practiced pieces tanked upon arrival at our piano teacher’s home. Even ascending the staircase to the threshold of the apartment, our heart rate quickened, and we felt cold, clammy and faint. It was automatic over-drive for the first 20 minutes–an adrenaline crisis of magnitude.

Yet the stimulus, our kind-looking, empathetic mentor who appeared in the shining glow of her Zen-like environment, welcomed us with unconditional love and acceptance. She was draped in a HERE and NOW, mindful learning mantra, leading us to a grand piano, with neatly stacked, Blue urtext editions that she embraced with reverence and affection. At least, when she thumbed through its pages, locating the Mozart amoroso we had practiced– propping it neatly on the rack, her warm, inviting gesture should have transported us to a peaceful cosmos of awe-inspired music-making.

But we resisted, embracing our own enslaving mindset regardless of what existed in reality. And with a self-imposed distortion of what a lesson should be about, we were guaranteed a disappointment universe, bundled in autonomic jitters and keyboard-plagued land mines.

***

From my perspective, these tension-loaded recollections had been associated with a time when lessons were LIVE and bristling with person-to-person interactions. These would be tempered by a wise and patient teacher who walked us down from our mountain top of anxiety to a level ground of relaxation: In a gradual decompression, we became detached from our EGO-heavy, high expectations– wooed, instead, into ONE-ness with the creative process.

My most beloved NYC based-teacher, Lillian Freundlich, who’d mentored me with this very approach, knew, like a psychotherapist, how to refocus my attention on the music and not MYSELF. Her nursed immersion was progressive, in baby steps, as she shook the kinks out of my shoulders, forearms, wrists, and ushered in the second twenty minutes of my lesson, with natural, effortless breaths fueling a resonating singing tone. By her persistently patient efforts I was able to flow quite naturally through my scales and into the loving lap of Mozart’s middle Sonata movement. (K. 281)

***

Today, decades past my early student experiences, and in full bloom as a piano teacher of adults, I often find myself sitting thousands of miles from the epicenter of a pupil meltdown, wondering why my ONLINE presence can instigate a volcanic eruption!

It’s of concern because I’m NOT a looking-over-your-shoulder, or IN YOUR FACE mentor by any stretch of the imagination!

Nevertheless, this important glance at the world of teaching from near or far readily exposes the same issues of how we relate to our music and creative selves. Do we stunt our own growth with learning DEAD-lines and unreasonable EXPECTATIONS? What unattainable STANDARDS do we affix to each lesson that portend our own sense of FAILURE, when failure is our particular invention.

I certainly don’t view any part of a musical journey as a “failure” of any kind.

And here’s where I’ll defer to a well-written blog, (though I would have omitted any reference to “failure” within it.) The “guest” creator, known as the “Cross-eyed pianist,” sets forth a self-compassionate framing for music learning and performing that I’ve forwarded to my gaggle of ONLINERs who often shake in their in their booties the moment we’re face-to-face on FACE TIME! (Should I exit to the next room, at the next SIGN ON, listening to a pupil from a dark, hidden closet?)

Regardless of my on or off-screen persona, a distressed student is often heard moaning a familiar chant via her Internal Mic: “You must have told me to dip that cadence a thousand times, and I’m still at it! Maybe I should just quit the piece.. But, I’m not a quitter! You know that, so let me try it again!”

This soliloquy may play out with innumerable repeats and variations as I sit under a webcam, wondering if I should put an end to the perseveration that’s going to sabotage each and every subsequent hit the dirt effort.

It’s a no-brainer that if a student is playing with a loaded gun of confidence-shattering bullets, there’s no way that she’ll settle into a judgment-free, safety zone of ONE-ness with her J.S. Bach Sarabande.

And Who’s Counting my suggested revisions to a phrase, or the reminders to a pupil about fingering, etc.? It’s not I who’s in the Accountancy Office!

This is where fact and fantasy need separation, just like blaring FAKE NEWS demands a constant REALITY CHECK!

So I happily refer to the previously referenced blog that puts everything into perspective:

https://pianodao.com/2017/03/13/the-pianists-self-compassion/

My favorite quotes:

“Self-compassion can protect us from the negative thoughts, self-doubt or feelings of inadequacy that the life of the musician may provoke, but it can also encourage us to open ourselves up to the full spectrum of our experience which is the starting point for truly compelling and mature musicianship.”

“…Mindfulness helps us to be non-judgmental and to take a balanced approach to our emotions. Being mindful allows us to observe our thoughts and feelings from a distance, and for the musician it encourages a positive attitude towards mistakes (learning tools) and setbacks.”

An Online student in Kentucky responded positively to this posting:

“Perfect! I love it, self compassionate. My new mission!”

“Amen,” I replied, from my bunker in Berkeley.

youtube.com

Performance Anxiety and Pressure Relievers

The symposia at Carnegie Hall’s Weill Music Institute brought three top flight performers together to share thoughts about performance-related issues.

Leon Fleisher, Yo Yo Ma, and Pamela Frank, all fine musicians in their own instrumental cosmos, agreed that the Ego can be an impediment to anxiety-free music-making.

Zeroing in on “performance pressure,” Maestra Frank, a soulful violinist with a rapturous tone–daughter of pianists Claude Frank and the late Lillian Kallir, emphasized “connectivity and love for music” as her primary defenses against invading jitters and worries about critics’ reviews.

***

Without a doubt, total involvement in the act of playing bound in LOVE, should support a singular, unimpeded music-expressive focus, yet too many amateurs and professionals alike, are plagued by shadow parents who count wrong notes and hesitations. Childhood-originated messages are memorialized in the psyche and chip away at meticulous practice and preparation.

So what can we do about a perpetual cycle of performances marred by Superego trapped self-punishments?

I assert that we can re-set, pre-programmed messages to become positive reinforcements of our efforts.

1) Visualization is a start: I watch performances of pianists I revere. In the realm of the effortless, outpouring of music with a calm, meditative dimension, I select Irina Morozova’s rendering of the Chopin Impromptu. (you can choose your own preferred soloist—Perahia, and Rubinstein are particularly relaxed players)

In this spirit of maximized, RELAXED concentration, Olympic athletes, IMAGINE graceful motion and successful outcomes. From the diving board into the vast air space, they land with a centered arrival in the water without impact.

Likewise, we can launch our playing, with a full breathing space, then swim with liquid beauty from phrase to phrase until final cadence, having inspired role models to emulate.

2) In preparation for a performance, I recommend super-slow motion practicing, with a “FEEL” for the ebb and flow of phrases while monitoring long, natural breaths. This blocks anticipation or thinking ahead to what’s coming next. Such concern for the future can easily get the performer into a jam. THINKING SLOWLY in the PRESENT, even while playing through fast passages–a paradox of opposites–can work wonders. (Note that Muscle Memory is a big component in an ongoing biofeedback that’s part of all practicing–Keep a Journal by the piano, and take NOTES when awakenings occur)

Part and parcel of performance prep is the sense of being in the moment– having all the time in the world to communicate music and imagining a setting for warm, listener and soloist-affirmed interaction. Such mind-driven run-throughs should take place in the practice module leading to a performance.

3) Making videotapes of one’s own playing and revisiting them as objectively as possible can also fine tune areas needing improvement, absent a harsh overlay of judgment. These video rehearsals put a player in the audience, but as a sympathetic, understanding and reassuring listener. It’s a reminder that the experience of SHARING between player and audience is at the center of performing.

4) Self-hypnosis, another valuable tool in the arsenal of anti-anxiety fighters, should be part of practicing, preparation and performance. All playing, immersed in beauty with a resonating singing tone, can be framed positively through a set of affirmations recorded on audiotape. Feelings, environments and associations that calm the mind should be identified and utilized as needed.

(In the 1980’s I consulted a hypno-therapist who worked with me to devise my pre-performance recorded script that I replayed many times before my upcoming recitals, and naturally these were embedded in my practicing phase as the basis for MEDITATIONS)

Finally, don’t believe that having multifarious opportunities to perform will eradicate performance anxiety, especially if a cycle of unhappy experiences has been the norm.

The negative outcome cycle has to be broken by self-generated changes that should include a disciplined re-programming of the psyche.

As teachers, we know first-hand how the mind plays such a powerful role in making music. Auto-suggestions, prompts, pivotal verbal cues, can work like magic when a student is restricted by muscle tension, and thoughts of failure.

We’ve seen it time and again, so why not make tools available to our pupils that are performance anxiety relievers. While they’re dealing with it, we grow in increments, right beside them.

***

A book I highly recommend, Just Being at the Piano, by Mildred Portney Chase is referenced and modeled (by You Tube video) below the first link.

LINKS:

How do I deal with my Performance Anxiety?

https://arioso7.wordpress.com/2013/03/08/how-i-deal-with-my-performance-anxiety-video/

Performance Anxiety and the Pianist

https://arioso7.wordpress.com/2011/02/06/performance-anxiety-and-the-pianist/

How Anticipation can Trip you up, and what you can do about it

https://arioso7.wordpress.com/2011/07/25/piano-playing-how-anticipation-can-trip-you-up-and-what-you-can-do-about-it-video/

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The Big Baroque Festival!

I cleared most of my Saturday morning lessons so I could be on time for a special rehearsal at Fresno State. I took no chances given the steady rain these past few days that caused dangerously deep puddles along Shaw Avenue. The inevitable flow of traffic to crowd-jamming Bulldog games would also be a time delayer. (What season were we in?) My ignorance reminded me of the time I inadvertently scheduled a student recital on Superbowl Sunday. I had booked Northwest Chapel well in advance for a particular weekend afternoon, and naturally a specific Sunday in February was the only one available. Not a mystery with all the sports hoopla engulfing the city of Fresno. Since a pile of tailgate parties had to be canceled on account of my recital, the inconvenience cost me 4 students. And by coincidence, these kids all lived on the BLUFFS, a pseudo wealthy northwest enclave where homes overlooked a custom contrived pasture. (I noticed similar landscapes along my weekly train route to the Bay) It appeared that almost every city had set aside acres for panoramic views of a deep, expansive ditch decorated with trees, a few roaming horses, and some wild dogs chasing a few rodents that needed easy disposal) Here in Fresno there had been a fever pitch rush to buy such properties on the newly fabricated hills back in the late 80’s. (But I often wondered if the people hawking these houses, realized that a chugging, whistle blowing train would whiz by at frequent intervals, turning their dream homes into railroad flats)

***

Despite the fact that these Bluffs parents were put off by my recital scheduling on the day of a mega sports event, they still managed to show up for their kiddies’ concert with a variety of television hook-ups. Since iPhones had not yet arrived, I wished I had brought my camcorder to videotape some of the instant replay videotaping going on. No joke. The unpleasant distractions virtually ruined all of my students’ performances.

***

Flash forward: Thank God, today’s musical event at the university didn’t compete with football mania. (I happily reminded myself that the Superbowl came and went)

A high brow Baroque Festival sponsored by the Music Teachers Association of California had been planned in the afternoon, and one of my ten-year old students eagerly participated. The event had a competitive edge because only 1/3 of the entrants would be selected to go on to the Regional recital. In simple terms, those who were picked in this round by two esteemed out of town judges, would play in March at an Honors performance. It came with a Certificate of recognition and a handsome medallion. Not exactly an Olympic event, but for some keyed up students, it was a good comparison.

For starters, at 11:30 a.m. my student and I met at the concert hall to test out the stage piano.

Just last week, I had nearly died, thinking I missed my student’s run through, because a mistake was made in the announcement put out by the local music teachers association. Or maybe it was last year’s flier that got sandwiched into my branch’s Yearbook with an erroneous date of 2011 instead of 2010. Naturally, with the old dating, the February Festival would have been past history along with me.

What a relief to have come back from hell this week with another shot at being this kid’s teacher. Close call.

Today this very talented youngster performed two Bach Inventions weeks after she had appeared faceless on You Tube demonstrating her technical prowess. With only her HANDS on camera, she was put through grueling technical paces, playing every scale and arpeggio known to mankind. A bit of an exaggeration, but used to give her credit for hanging in there with a camcorder gaping over her shoulder.

Here’s a snatch of her anonymously rendered keyboard agility:

(Note that one of the pianos on video was waiting for a tuning, while the other had just received one. Hence, the warbling between them.)

In any event, the formerly invisible student, finally emerged with a face attached to her name, along with an assigned number that followed her to the Walberg concert hall stage that was equipped with a 9 foot size Yamaha.

Incidentally, last year I had learned a mighty lesson about Festival pianos and warming up. Mistakenly, I permitted a student to practice on a small upright piano in one of the university’s cubicles after she had tried out the concert hall’s concert grand. The diminutive practice size instrument had a very light action by comparison to the house piano’s resistant touch, so when my pupil played the first few notes of Beethoven’s “Moonlight” Sonata on stage, they totally disappeared. Naturally, she was caught by surprise and remembered the most recent piano she had tried. Live and learn.

The atmosphere at today’s Festival, or COMPETITION, was superficially low keyed. Everyone was supposed to be celebrating the age of the Baroque without a second thought, and I guess I should have joined in the fireworks, or the candle lighting ceremony but neither took place.

In preparation for the ordeal, or golden opportunity, however one wanted to spin it, I gave my student a copy of Just Being at the Piano by Mildred Portney Chase and told her to meditate over several selected, underlined passages.

I made sure to recommend my favorite mantra:
“To be a pianist, in one sense of the word, is to think that a daddy long legs on the window sill is dancing to your playing; it is to think that the breeze came through the window just to talk to your music; it is to feel that one phrase loves another; it is to think that the tree is a teacher of the tranquility you need in your playing. It is to know a loneliness crowded with the beautiful as you play.”

These words had worked like magic with another student who had made it to the Regional recital two years ago. In honor of her sterling playing, I had framed a picture of her holding a Certificate and wearing the medallion. But by far the truest memento of her 2009 Baroque Festival appearance, was a DVD that captured a portion of her “live” performance.

Here’s the c minor fugue from Bach’s Well Tempered Clavier, Book I coming from Fresno State University’s concert hall. (excuse the raw footage with some sound irregularities)

PS An in depth documentary is in progress about what transpired at the MTAC sponsored Baroque Festival. In the meantime, winners will be alerted by email on Sunday Feb. 20, 2011 so the suspense is killing most of the participants.

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Performance Anxiety and the Pianist

For too long performance anxiety was a taboo subject, always swept under the rug.

I remember grappling with paralyzing jitters during my years at the New York City High School of Performing Arts. My piano teacher at the time, a seasoned professional, would always say the same thing:

“Honey, the music is bigger than you or me.”

Of course it made me otherwise feel like an Egomaniac.

Her altruistic mantra never worked beyond the opening measure of a piece. I would fall apart quite instantly, and hardly remember if I had ever played a composition before an audience of anyone other than myself.

In a previous blog, I referred to going cold, like an ice cube when I was invited to play on “Music in the Schools,” a WNYC F.M. program that showcased talented youth in the city.

It was Mozart’s Sonata in D Major, K. 311 that was for all intents and purposes on automatic pilot without a real “live” pilot at the controls. The final cadence was a crash landing with emotional consequence. I was miserable for weeks and months following the disaster and I never again wanted to play in front of a microphone!

REDUX: My teacher would say with even greater urgency, “The music is bigger than you or me.”

The problem with engulfing nerves, is that unless there’s a break in the cycle, it can perpetuate itself. You can go from one performance to another saddled with the same crisis with no end in sight.

And don’t believe the instruction: Learn your notes inside and out and all will be well.
Preparation is a given, but not God given when you need a life preserver in the middle of a piece.

I remember a nightmarish situation that played out at the Oberlin Conservatory when I was a student majoring in Piano, Performance. A very gifted young woman was publicly auditioning the Schumann “A” Minor Piano Concerto, when suddenly she had a massive memory lapse smack in the middle of the first movement. One phrase trapped her and she couldn’t get out of it. The same few measures were repeated 15 times to no avail which kept her from advancing to the final cadence. (I wondered if she would be signaled to go offstage, as happened recently to a participant in the Chopin International Piano Competition) I resisted jumping on stage with the music so the afflicted young Oberlin pianist could make it safely back to her dorm before nightfall.

As it happened, the player finally found her away out of the snag, and managed to play the next two movements impeccably well. She wasn’t chosen among the finalists but the following year she came back and won! Now that’s a story of fortitude and courage that should teach us all a lesson about not giving up.

I might add right here, that my own piano teacher had a significant memory lapse at her well publicized concert at the 92nd Street Y, so I began to make the connection between her son’s life’s work as a psychiatrist and her possible difficulty performing onstage. (though I’m not certain whether her memory lapse was self limiting or a symptom of a greater problem)

There’s hope!

To give others a twinge optimism about finding a cure for their paralyzing nerves, I will explain what I did, that not only helped me, but had been passed down to my students over the years.

1) Hypnosis: I became a confirmed Believer.

I had the courage to visit a hypno-therapist about 20 years ago who began by asking me about the piano; challenges to playing in public; what were my worst fears when performing or anticipating a performance (and inevitably these were related to fear of failure and its consequences, loss of love, loss of identity, etc.)

At that point, I reminded myself that my piano teacher’s son, Dr. David Freundlich, had published papers on Performance Anxiety that focused on masturbatory fantasies. I recall reading his Journal writings from the 1960’s that tied asphyxiating nerves on stage to fear of auto-erotic activity exposure. So if a player was crippled by anxiety, it was because playing piano was a self-gratifying, libidinal process best kept in a dark closet and not exhibited in public.

Well and good, for a beginning construct, but who could afford to lay on a psychiatrist’s couch and mull over the first five years of life, honing in on the psycho-sexual stage as a key to unraveling a Neurosis. It might take decades!

As reference, the late David Freundlich’s paper on the subject of “performance anxiety and musicians, American Journal of Psychiatry. 148:598-605. …. Freundlich, D. (1968) Narcissism and exhibitionism in the performance of classical …
http://www.analyticpractice.co.uk/…/Useful%20Reading%20on%20Performance.pdf”

For me, talking to my hypnotist who had her Certification posted up on the wall, was a more practical and direct approach to my problem.

With the information gathered from me at the first session, she put together an audiotape. And as I lay on the couch, not facing her, she soothingly repeated mantras that were more useful than “music was bigger than me.”

It was more like, “Imagine slowly descending a staircase to a beautiful room that looks out on a magnificent garden, with flowers of all varieties..” She led me to the garden where I contemplated nature and its bounty. I became more relaxed. She reminded me to breathe easily and deeply. She kept coming back to the breath. After 30 or more minutes, I was breathing without anxiety. She then placed me beside my piano which I “loved as a faithful friend.” The elegant, stately grand was not a threat, or something to avoid. She kept revisiting the garden, the relaxed contemplation and meditation. The tie-ins were natural, not contrived.

After 45 minutes, I was in a deep trance, needing to be brought back up the staircase by my hypnotist.

At the very end of the session, before I was in a completely conscious state, she transported me back stage as a rehearsal for my upcoming performance. (Incidentally, my own piano would be shipped to the location so that’s why she referred to it)

I was at the same time in the midst of the lush garden, very relaxed and at peace with myself. The people in the audience would “share” my music with me. They were “not judging” me or otherwise waiting for me to fail.

She planted many of these ideas as I was in my subliminal state, and it helped me on the day of my concert.

***

I can say with certainty that my performance following many re-playings of this audio-taped session was 90% improved over those I had ever previously given.

And in the course of 6 months, I continued my sessions with the hypnotist and acquired a sizable collection of cassettes.

Going Beyond Hypnosis

2) What I previously discussed would fall under Hypnosis and Self-Hypnosis strategies in dealing with performance jitters. After all, what I took from the hypnotist was the ability to go home, listen to the audiotapes and then make my own recordings with variations on the same theme.

But in the course of the 20 years since I visited this wise woman, I went further in exploring additional ways to handle performance anxiety. And these, again were allied to the breath and to Yoga in its many forms.

In the present, I advocate a healthy regimen of exercise, at the gym or otherwise. Yoga, again is a wonderful activity.

I tell my students to “breathe” through their playing.. through their scales, especially at the turnaround (the very end of the passage and the very beginning) And I use words like “roll in” into a scale or passage. “Play into the silence.”

I tell them to use MENTAL IMAGERY, and that again, is tied to self-hypnotic routines.

Elite athletes use mental imagery as a matter of course. Just imagine what floats through a diver’s mind as he prepares for an impossibly difficult maneuver— same for
gymnasts, skaters, runners, et al.

Pianists are part athletes, mastering great feats of coordination while simultaneously being artistic interpreters. They have a double challenge.

The mind/body connection applies, as always.

Examples of mental imagery for a pianist:

Playing staccato: Think of the piano as a playground, and in that association, you are a child. Use words “like bouncing a ball,” or for light staccato, imagine “ping pong balls.”

Piano can be child’s play.

For legato, “float, relax, play more effortlessly, don’t squeeze, or hold on.”

These prompts often relax the students, at least during their lessons.

For a more long lasting effect in dealing with upcoming piano recitals, I copy specific quotes from Just Being at the Piano, by Mildred Portney Chase, that I extract as mantras:

“To be a pianist, is to think that a daddy long legs on the window sill is dancing to your playing; it is to think that the breeze came through the window just to talk to your music…it is to feel that one phrase loves another….it is to think that the tree is a teacher of the tranquility you need in your playing.”

Important chapters: “Body Awareness and Movement,” “Tone,” “Listening,” “Slow Practice,” and “Performance.”

My other favorite book is The Inner Game of Tennis by W. Timothy Gallwey.

Treasured quotes:
“Listen to how D.T. Suzuki, the renowned Zen master, describes the effects of the ego mind on archery” (a metaphor for just about any endeavor, piano playing included)

“As soon as we reflect, deliberate, and conceptualize, the original unconsciousness is lost and a thought interferes.” DOES THIS SOUND FAMILIAR? Too many of my students talk about “losing concentration,” with tangential thoughts creeping in. Much of the time, they refer to a little voice telling them things are going too well and a “mistake” is about to happen, and as soon as the thought enters their mind, guess what happens?

“Calculation, which is miscalculation sets in……”

“Man is a thinking reed, but his great works are done when he is not calculating and thinking. ‘Childlikeness’ has to be restored with long years of training in self-forgetfulness.”

Gallwey continues:

“Perhaps this is why it is said that great poetry is born in silence. Great music and art are said to arise from the quiet depths of the unconscious…”

I agree.

Performance anxiety doesn’t have to be crippling but it takes patience and a grain of optimism to move forward to a better place. Start where you are and go further, one baby step at a time.

RELATED:
https://arioso7.wordpress.com/2011/03/09/a-breathtaking-music-camp-finale/

https://arioso7.wordpress.com/2011/01/31/music-comes-from-the-heart/

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Sports and Piano Technique: How about chunking–On You Tube

It’s a no brainer to compare piano study to athletics. Both have been my passions throughout most of my life.

At age 6 I competed with my brother for music lessons but lost out. Nearly five years my senior, he got first licks at studying the clarinet, quashing my hopes of holding a shimmering saxophone in my tiny hands. Yes, saxophone. Can you believe? It was such an eye catcher with all the shiny keys on it, and the sound was hauntingly beautiful. But the local music school on the hill in the Bronx had no opportunity to learn this precious wind instrument. The excuse was it hadn’t even a place in a symphony orchestra.

Meanwhile I remember the squeaks coming out of my brother’s clarinet no matter how many times he licked his reeds. And despite many months of reluctant practicing, he couldn’t manage to pump out a few notes without cracking registers. His decision to quit moved me quickly into the privileged position of studying a musical instrument. But with resignation, I accepted the music school’s recommendation that I receive piano instruction.

Besides having to suffer with my first illegitimate $50 upright, a Wieser, or more aptly a WHEEZER, I made sure to take breaks from practicing by dashing over to PS 122’s playground on Bailey Avenue in the Bronx. After school each day, I would surreptitiously pull a broom stick from the kitchen closet and run off to practice my swings, tossing a Spaulding into the air.

The parochial school kids from St. Johns were always at the playground well before I arrived, choosing up the most elite team of stick ball players among themselves, so I could never dream of being invited in. But on one special afternoon, as I was practicing in full view of some its premier athletes, I smacked a ball clear over the fence which landed in a dump truck. That would have been the longest home run I ever hit, and to my good fortune, Patrick McGrath saw it and from then on, chose me into the gang’s stick ball games.

No wonder sports vocabulary permeates my teaching. I learned it from the ground up on the playing fields of the Bronx.

My Studio and sports

As mentioned in a previous blog, Mark, a former tennis pro turned lawyer comes weekly to lessons here at Sports Central. He’s always game for a serious piano workout since we devote the first twenty minutes to technique: scales, chords, and arpeggios.

He, like most students, want to play scales with smoothness and velocity, so I’m happy to linger as the ever-present coach. Problem is that too many pupils crowd the last few notes of a scale and choke up, instead of breathing long breaths into it. Just at the crunch point where the scale turns around to descend, a certain performance anxiety sets in that nips the exercise in the bud. That’s when a lot of students throw their hands up in the air and tie themselves into more knots. Instead of letting go of tension with a relaxed sigh, they race back to the keys with a notched up blood pressure reading. The same problem perpetuates itself.

So how does a student pace himself to deal with this out of control race to the finish line. The best thing to do, I believe, is to start with  chunking. If you happen to pick the key of B Major that has double and triple black key groups with thumbs in between, you can think in larger units instead of laboriously playing note to note. With so many individual ones to count, it can be overwhelming.

In the video attached below you can observe a systematic build up of the B major scale by depressing clusters of black key groups with intervening thumbs, first using separate hands, then hands together. An underlying, relaxed quarter note or steady beat holds the scale together from beginning to end, allowing the student some breathing space.

Recital Jitters

Think of a crowded pile-up of notes at the top of a scale as a massive tackle of a quarterback right in the midst of the final quarter tie breaker.

While there’s no sudden death overtime when playing piano, just put a few students on stage for the mid year recital and watch what happens. That’s when visualization or mental imagery, meditation and other relaxation techniques are desperately needed.

Tim Galway’s the Inner Game of Tennis is a great paperback that addresses performance anxiety in any number of venues. It could be the golf course, the baseball diamond, the equestrian arena, etc. The author permeates the text with the Eastern philosophy of the Tao that embraces the here and now without self judgment. It has perfect application to piano study and performance.

Consider a tennis event where an overhead smash could be the game, set, match point. Coming to the net has to be with the right energy enlisted, not with an overabundance that causes the racket to hit a wind tunnel. The poor player looks like he swung through the air and blew the game. (It happens all too often with wiffle ball players)

Most of the time it’s not about brute strength when doing athletics or playing piano to perfection, but rather it’s finesse that wins the game or advances piano technique.

As I’ve said over and again during lessons, sports and piano are great allies so it’s best to go with the flow, breathe long deep breaths and enjoy the ride.