Making Use of Music Festival Comments

You have survived this season's run of music festivals and competitions. You have your certificate. Maybe you even earned an award.

Perhaps now you're asking yourself, "Now what?"

Please bring your written adjudication sheet(s) to your next music lesson. If your music teacher was unable to attend your music festival performance - and your parents recorded your performance - do bring the recording to your next music lesson to review with your teacher.

Your music teacher can help decipher the adjudicator's handwriting and discuss with you how to incorporate some of the ideas that you picked up at the music festival.

I put the word "some" in italics. Bear in mind that music is a personalized experience, not just for you but for the listener. Your adjudicator is giving comments based on their skills, experience and educated opinion based on your playing at that moment. You may agree with some comments, but not all. The same goes for your teacher.

Your music teacher, the adjudicator and the examiner have similar "hot buttons" that they listen for: rhythm, pedalling, fingering, balance, technical fluency, command of the style. In basic terms, they are listening for whether you know the piece and if you're telling us a story.

What will differ are some of the ideas that they each have for you to try. Each of your musical mentors have a different set of skills and experiences.

Take the ideas that each have to offer and try them. Give them a solid effort. Keep what works for what you're trying to say with the piece and file away the rest. Who knows? It may work with another piece better.

Coping and Recovery Strategies

This month, my students are performing in our Winter Showcase. For some, this marks their debut performance. This week, we've been working on various coping and recovery strategies. As much as we would like to believe that we'll play everything cleanly, the reality is that nerves, distractions, physical and mental state, readiness and uncertainty can affect how our performance turns out.

I'd like to highlight a couple of the strategies that I introduced to them last week. First - I had them drop a hand out for a phrase or two - just enough to get through a wobbly section. If you do it in phrases, then it sounds like you meant to do it that way. Just make sure that you don't drop the tune.

Another thing they tried was to simplify either the melody or the harmony (chords). A couple are playing solid chords instead of the funkier groove that is written. If you have to simplify the accompaniment to maintain the beat, so be it.

The third thing we've had to do this week is to shorten some of the pieces. I instructed them to play through until their ear "found" a logical stopping place (Those of us who have been in music for a while would call that a cadence). In one case, we added a tonic chord in as the next beat modulates to mark a new section.

For these to be automatic on stage, however, these strategies must be practiced at home. Not just once, but several times so that you commit it to muscle memory.

For when it comes down to it, no one really cares exactly what you play. They just care how you play it. So long as you don't miss a beat, the piece is recognizable and the tempo is close to the marked speed, you're set.

Overcoming Stage Fright - Second Movement

"This week, I want you to practice performing." My students have been hearing me say this throughout the week, in preparation for my studio's winter recital on Sunday. We only have one shot on stage to weave our magic for the audience. Many musicians can attest to nailing their songs in the practice room, only to have everything fall apart on stage.

The secret is to practice performing. One must play through the song(s) in a performance setting, where you can get that heart pounding, feel the weight of all eyes on you and play through distractions. Some tricks I've learned along the way:

• perform often: the more you perform, the more used you get to the stress and the easier it gets

• cajole your family and friends to be a guinea pig audience - have them be a model audience one time and a disruptive one the next run-through

• know your repertoire really well

• visualization: visualize the setting, yourself playing well, yourself successfully navigating through a stumble, memory glitch

• breathing techniques

• put Maestro to work: Sometimes, I allow Maestro to provide distractions for the students to perform through. His favourite techniques include surrounding the student with toys, hopping on the bench and singing along.

Here are some cool articles on performance anxiety/jitters:

• First Performance Jitters

• Overcoming stage fright (my blog entry from May 10, 2006)

Happy reading! (c) 2007 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.