 The Clarinet BBoard
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Author: Slowoldman
Date: 2014-03-30 21:07
I am an adult (63) amateur player, who has been playing with an excellent community band for 2 years. I would describe my playing as "solid" or "pretty good". I am not the "star" of the group, and have no such aspirations, happily playing 2nd or 3rd clarinet. The problem is that I find that I play better in rehearsal than in concert, because I tend to "hyperfocus" (trying to get it right) and what has seemed "automatic" falls apart; and I am so busy looking at the notes that I've just played that I fail to look ahead in the music. Results: Incorrect entrances, missed dynamics, etc. and that uneasy feeling of knowing I could've done it better.
I guess this is a form of performance anxiety. (It's not for lack of preparation of the music.) Can anyone suggest exercises, articles, techniques, that might be helpful? Since my life and career don't depend on it, I don't think beta blockers are appropriate.
Thanks!
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Author: Curinfinwe
Date: 2014-03-30 21:30
I used to have a similar problem with "hyperfocus" like you described. What helped me was someone explaining that you should never try to do anything different in a performance. Imagine you are an Olympic luger. You've gone down the same run dozens of times consistently and know you can do it fast. Why would you try to do it faster on the day of the actual race? You might crash and be injured- at the very least out of the race.
It's the same for musicians. If we try to exceed our consistent practice in performance, we're going to crash and burn and just end up playing worse. You need to realize that although your rehearsal playing might only be 80% of your capability, by aiming for higher in the concert you only end up playing at 60%! Just make sure you play consistently in rehearsal, and realize that you're solid and good at your part. When it's a performance, remember how well you did in rehearsals and play just like that- do not try to play any better.
Basically: practice how you perform, and perform like you practiced.
Hope that helps!
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Author: fskelley
Date: 2014-03-30 23:18
Oh, boy... what a can of worms.
I can't speak for gin or bananas, but I like what Anna (Curinfinwe) said- to make performance as much like practice (or vice versa) as possible. And many times while I'm practicing, I imagine I'm in front of the audience and see if I can give myself some jitters for a moment. I figure if I do that enough I may desensitize whatever mechanism is causing them. Worth a shot.
Just know that you have plenty of company.
Stan in Orlando
EWI 4000S with modifications
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Author: Paul Aviles
Date: 2014-03-31 01:38
Well I don't know if it is a problem of hyper focus or just focusing on the wrong thing. For instance there are two good books on performance: "Then Inner Game Of Tennis" and "A Soprano On Her Head." The "Inner Game of Tennis" refers to focusing on a detail such as the stitches on the ball. If you focus on watching this minute detail of the ball, the ball seems to get much bigger and becomes impossible to miss it with the racket. I had experimented with focusing on an aspect of my sound such as the vibrations I feel as I play. In this way, as Timothy Gallwey talks about it, I think being 'hyper focused' is a good thing.
I also recall Pavarotti talking about being almost paralyzed by nerves as he make the initial steps out on stage, however, once he hears the sound coming out of him upon his first notes, the the stage fright melts away and he becomes only aware of the beautiful sounds that he hears.
You can't stop nerves, but what you do with them makes the difference.
.............Paul Aviles
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Author: Funfly
Date: 2014-03-31 13:04
I think you would be surprised by the number of vey famous personalities who are physically sick with nerves prior to a performance.
As has been said, it's not the nerves but how you deal with them.
It is possible that you are imagining your reduced talent far more than the actual fact.
Mart
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Author: PaulIsaac
Date: 2014-03-31 13:09
I have read - and continue to refer to - an excellent book by Barry Green and Timothy Gallwey called "The Inner Game Of Music". Green was a bassist with the Cincinnati Symphony Orchestra for many years. He applies the "Inner Game" fundamentals to his music students with astonishing results, mainly to overcome ""inner" obstacles such as fear and self-doubt. Some sample chapter titles - " The Power of Awareness"; "The Power of Trust"; " Letting Go"; "Coping With Obstacles"; " Integration and Balance" - you get the drift. He also touches on things like creativity, ensemble playing, improvisation and other parts of the music "game" (remember that we PLAY music!).
Well worth a read and it addresses the exact issue of Slowoldman.
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Author: kdk ★2017
Date: 2014-03-31 17:01
I don't have anything to suggest beyond what's already been covered about nerves and anxiety in general. I think all of us feel it to some extent and for me it varies in intensity with how difficult the music is that I need to play and how exposed I am while playing it.
But the specific issue of looking back at what you've already played is one that I've had over the years to talk myself out of - you (I) have to remind youtself (myself) that what just happened doesn't matter - good or bad. It's already done and can't be taken back. You need to keep *focused* on what's ahead and forget what's behind. I think that's at some level a conscious thought process, a decision that becomes easier to make each time temptation to look backward comes up.
Karl
Post Edited (2014-03-31 19:25)
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Author: William
Date: 2014-03-31 18:28
Everyone makes mistakes, but you tend to make more if you are still worrying about the ones you've already made. Made a "boo-boo"?? Let it go and get the next few notes right. I would think that most "pros" will tell you they very seldom ever play a perfect concert. Besides, most of those little errors are never perceived by the audience so just act as if everything is "ok" and play on....simple as that. With lots more experience--than just 2 yrs--you will get better. So play on with confidence......and don't "sweat" the small stuff so much.
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Author: gkern
Date: 2014-03-31 20:01
From another "slow old man", but 13 years your senior. I too have been playing in a good community band for a little over 2 years now, and think my skill level is probably about the same as you described, being a 3rd (sometimes 2nd) chair player.
I try to focus on the notes and dynamics, and only have problems with long 16th note runs (sometimes 8th with uptempo and accidentals). My cure for this is practice, practice, practice, then I try to do my absolute best at the weekly rehearsals, as if it were the actual concert. Of course I goof a lot in the difficult passages, but I keep going on with the next notes, and try to improve before the next rehearsal. And, I have the greatest respect for our two conductors, and want to play well for them in rehearsals also.
I don't know if it is this approach or what, but the actual concert doesn't have any different effect on me. Maybe I'm just numb, dunno...
Gary K
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Author: Jack Kissinger
Date: 2014-03-31 21:06
Particularly if your performance venue isn't your regular rehearsal venue, there is another possibility -- it might not be performance anxiety at all. One of the conductors I play for is fond of telling us that as soon as we step onstage for a performance, we will each lose 25% of our ability. The reason is that there are distractions that we didn't have to deal with in rehearsal that can cause us to lose focus temporarily -- the audience, a slightly different position relative to the conductor and other members of the group, slightly different reverberation from the hall, different lighting, different chairs and, yes, nerves. He tells us that, if we only come in at 100%, we will only perform at 75% and the only way to overcome this is to be sufficiently over-prepared that when we lose our 25%, we still have enough left to perform at a high level. Sufficiently over-prepared that when those temporary lapses of focus occur, they don't throw us for a loop.
Another tip from a different conductor. If you've ever missed an accidental, a caesura, a rhythm, you'll probably miss it again so mark your parts. The last thing you want to have to do during a performance is think.
Best regards,
jnk
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Author: ThatPerfectReed
Date: 2014-03-31 21:17
I use a combination of mental tools to address performance stress.
The first is to tell myself that I have a meaningful job to do and that I need to overcome my fear to effect that meaningful cause. Though by no means do I compare my play with the importance of the American Civil rights movement, I do channel what people like Rosa Parks http://en.wikipedia.org/wiki/Rosa_Parks may have felt as morale resolve got them to overcome their fears. To point: there’s a reason morale is important in the armed forces. People who believe in what they are doing are far more likely to take risks to serve that cause.
My next tool is to remind me that I play this “stick with a reed” because I love to (i.e. it’s fun). I remind myself to enjoy playing, in all venues. I’m reminded of the pit of a recent Broadway show, where few audience members could see or bother to look, of a bunch of musicians all swaying together to one of the show’s livelier tunes. They were having fun. So should you, even if it’s only in your head.
My next tool is to believe, which I do, that by in large, audiences, in fact people, are forgiving and kind as they too, as human beings are imperfect. I’ve been known to give standing ovations to clarinetists performing a piece that others would only clap to. My embarrassed wife might want to say, “sit down, you’re embarrassing me,” but she knows why I stand: I’ve played that piece, I know how hard it is to get right.
My next tool is to realize that I am not growing as a player unless I push myself. That smart musician strives for perfection with no less resolve than their knowing they won’t achieve it.
My next tool is to recognize that stuff happens and you just have to deal. A trillion years ago in High School I was performing Weber's 1st (for Clarinet) and the stage fans (read blowers, not my "adoring fans" which is a group of two I call mom and dad) knocked the music off the stand mid play.
How hard was it to play from memory? Not that hard. I had certainly worked on it enough hours, because it wasn't trivial for me, that I could play from memory. Sure enough a colleague put the music back on the stand, and at a break in the piece I rearranged the pages and continued on. I think I received an even warmer reception because those events actually happened. My point, audiences can be very sympathetic and empathetic.
My final tool is one that says, “screw em if they don’t like it.” I can’t be all things to all people. All I can do is go out and do my best. Some will like me no matter what I do, some will dislike me no matter what I do, and I can’t change that.
I hope some of this helps in addition to some of the wonderful stuff I’ve seen written above.
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Author: BflatNH
Date: 2014-04-01 17:22
"Inner Game Of..." books and bananas are good.
Preparation essential, but not just for me to hear me play the notes well.
As quickly as possible I want get comfortable enough with my part so that I can really hear everyone else playing their parts and note important entrances, phrases, etc. that others have around my part so that should I slip up, I can more easily find a re-entrance point. Strauss' Alpine Symph has parts flying in and out with no easy entry references, so I downloaded the score to see exactly what was happening, e.g. where to start or stop, whose notes I'm doubling, if I echo a phrase, etc. and mark my music.
Sometimes when I solo or have an exposed part, my breathing gets more shallow, reducing my oxygen level, making it easier to lose my place.
Other times where I try to work something to near-memorization, if I don't carefully follow while I sort-of play from memory, I will stumble trying to find my place on the score. I hear that reading and memory playing come from different parts of the brain and it is hard to shift back from memory to reading.
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Author: BobD
Date: 2014-04-01 18:45
If you began playing as an advanced adult you didn't have the opportunity to get the experience gained from playing in grade and high schools. Those years of experience that you lack are, IMO, the reason for your problem.....simply experience.
Bob Draznik
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Author: ThatPerfectReed
Date: 2014-04-01 20:42
Bob--I don't doubt that what you say plays a role, but of course you can agree that many professionals with tons of experience get nervous too, right? So it's not just experience.
Steven, you know what your 63 years experienced in? The same thing the legendary Stanley Drucker, at 85, (may he always be healthy) is. Making mistakes. It's in your nature as a human being.
Too many years ago I sat 2nd to the now virtuosic Jon Manasse at some High School event. Two notes appeared at the same place in our part, obviously our que that I'd play the bottom note, and Jon the top one.
At yet were were dissonate sounding. The people sitting next to me said it must be me. It was Jon. And it was no big deal regardless of who it was. It happened once in a rehearsal, and Jon played, as he always does, brilliantly.
If these guys can make a mistake, so can you!
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Author: Slowoldman
Date: 2014-04-02 01:33
Again, thanks to all for the tips and encouragement.
I have already ordered a copy of "The Inner Game of Music". After all, this is more a "head game" problem than anything, as many of you have pointed out.
BTW--I didn't start with the clarinet 2 years ago--I did play from age 10 to age 27, then put it away for 34 years. So while I'm not a "newbie", I certainly did miss a lot of opportunities to get used to concerts (and mistakes)!
Amateur musician, retired physician
Delaware Valley Wind Symphony, clarinet 1
Bucks County Symphony Orchestra, clarinet 2 (sub)
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Author: Filettofish
Date: 2014-04-21 05:56
I just spent a lesson with a great clarinet professor, and his advice to me on conquering nerves and anything that can go wrong was, "Focus on what you are doing right, not what can go wrong."
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