Tricks of performance

[jenjoyce]

I was hoping we could share our personal experiences about how we stay focused while performing, and how not to lose concentration and have a train wreck in front of the mic. #I'm just starting out again, after a long rest, #and I feel like a beginner all over, #and am rather stressed out with performance.

I'd love to talk about it. #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/mandosmiley.gif

[Chris Biorkman]

Horse tranquilizers help. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif

[John Flynn]

A few things that help me:

> Over-practice, but then relax and go with the flow once you get there. Don't obsess.

> Remember that the audience is rooting for you. They really want you to do well. Feel that energy. Use it.

> Listen to your music. If you are playing with others, listen to them, blend with them. If they accidentally do a chord change early, you should go right with them. If you are solo, listen to yourself. There is a tendency to get "tunnel consciousness" and pay too much attention to finger placement, etc. and not enough to the sound.

> Have fun with it. If you are listening to yourself and you enjoy what you are playing, chances are others will enjoy it too.

[garyblanchard]

Here's some things I keep in mind:

1) It's only a performance. Perfection might be necessary for brain surgery, but a mistake in a performance is no big deal.

2) Chances are that no one will know if you make a mistake.

3) If they know, chances are they don't care if you make a mistake.

4) Chemicals (including alcohol) may relax you, but they can also make you sloppy.

Your attitude toward performing can make it fun or make it an ordeal. Choose carefully. good luck, and have fun!

(Edited because I mispelled "perfection". http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif

[Don Grieser]

There was an article in some magazine I picked up in a health food store that was talking about stage fright. They mentioned a breathing practice of breathing out twice as long as you breathe in. Doing this for some time before you hit the stage certainly calms. Fear breathing is short and shallow. Breathing out twice as long gets you physically out of the fear mode and eventually your mind will follow.

There's also beta blockers by prescription from your doc if the horse stuff isn't working for you.

[msh_mando]

Just like you make mistakes during practice, you have to accept that you will also make mistakes when performing. With both practice and performing, you just do it over and over again and slowly but surly the mistakes are reduced. In other words, you can't just walk up to the mic for the first time and be perfect. You have to perform over and over just like you practice over and over. Its all part of the process. Take a deep breath and get in there. And then get right back in there.... The only practice tip I use (especially for newer players) is to practice like you intend to perform. If that means standing, then practice standing.

[bienkow1]

A couple beers and a strong shot. It ain't going to kill ya.

[farmerjones]

The more you perform the less it is a problem for most.

Though I've never tested, if you eat a banana before hand it helps, they say.

Not many actually practice standing up to a mike & stand until the event, but if visualisation helps, this could help too. I do practice quite a bit playing while standing and or walking around. There's part of the brain that has to detatch from playing to walk. i think it's a good drill, that couldn't hurt.

[Jack Roberts]

The more you perform the less it is a problem for most.
This is the best advice. #Take every possible opportunity to play in front of people. #In my case, I am not a good performer, but I'm sort of the manager of our group, so I take every opportunity to get the guys and gals in front of people. #I'm there too with my mandolin and the three or four chop chords I know. #It used to terrify me, but now I am more terrified of NOT performing.

And I don't worry about mistakes after I looked at one of David Grisman's books where he defined "ghost notes" as mistakes he made in the recording. If the Dawg can make mistakes, so can I.

[Aran]

Tried the horse tranquilizer and it's rubbish - You can't even stand up, never mind play

Do NOT try it!!!

I think like the banana or the breathing exercise it's all about earthing yourself and anyway that works for you is probably good.

[herbsandspices]

The only practice tip I use (especially for newer players) is to practice like you intend to perform. #If that means standing, then practice standing.
YES! My bandmates always practice sitting. Then, come showtime, they're all standing very awkwardly.

Anything and everything you can do to make a show feel more like a practice (and vice-versa!), do it! (Beer at practice, beer at show, etc.)

This is a great thread!

john

[Rick Crenshaw]

Remember that you are your own worst critic. My bandmates constantly compliment me, but I have Shawn Lane or Alan Bibey playing along in my head and I don't come close to standing up to them. Reasonable facsimiles are OK. Concentrate on timing - it's everything. Breathe. Smile. Smile a lot. People want to see you having fun. They get uncomfortable seeing people grimace... so fun is the next everything.

Don't invite people you wish to impress. In fact, don't try to impress. Just concentrate on timing... and fitting in the song.

Forget all else. Well... not the lyrics. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif

[allenhopkins]

Never totally got over it; I get a "major gig" (e.g. opening for Bromberg two years ago, in front of 500 or so people) and I'm still nervous as hell. #Even playing 150 times a year in smaller venues (libraries, senior centers, coffeehouses, farmers' markets) I still get a few "butterflies."

What's helped me:
[1] #Avoiding obvious stress producers -- don't get there late, be sure you know how to get there (nothing worse than getting lost on the way to a gig, and showing up with 30 sec. to spare), have a program laid out that you've actually practiced, have spare strings, all the instrument stands you need, the right PA, a functional tuner, etc.
[2] #Dress comfortably, but appropriately. #If working with others, check with them ahead of time regarding appearance.
[3} #Play "within yourself" -- do music you know how to do, that you're comfortable with, not at the edge of your knowledge and capability.
[4] #Think about your intake of food and beverage, how it relates to your ability to perform. #Some get a benefit from moderate alcohol use, others (me!) shouldn't do that. #If you're uncomfortable, for whatever reason, it gets communicated to the audience.
[5} #Have a good idea of what you're expected to do in the performance situation. #What's the audience like, how long are you playing, what are the sponsors' expectations, what other acts (if any) are appearing, etc. etc.? #If you're pretty sure how the gig's supposed to go, it's easier to guide it there.
[6] #Put it in perspective. #Of course you want to do your best, "break a leg," knock 'em dead. #If you don't, no one's going to actually die -- though you may briefly feel like it. #Music is fun -- why do you think they call it "playing" music, instead of "working" music? #The audience is there to have a good time. #If you act like you're having a good time -- even if it's really an "act" -- chances are they'll like you, enjoy themselves, and leave you feeling successful and appreciated.

Remember what Count Basie supposedly said: "They don't pay you for the two hours onstage, they pay you for the other twenty-two."

[jenjoyce]

I am taking in all of this advice, I appreciate it, thanks!!!#

I especially found when I'm stressing out, that I literally forget to breath, or do very shallow, #so concentrating on my breathing deeply has brought me back down to the earth a few times. #I sometimes panic that I am going to just leave my body transcendentally, #and then I remember to breath. #Breathing is a great tool.

Sometimes when I'm really distracted and not focused, #this odd out-of-sync thing happens with my picking and fingering, and it takes all the concentration I can muster to get back. It really freaks me out, and I can't figure out if it's from lack of correct practice or pure stage fright.

From the old days of performing, I remember the wonderful feeling of relaxing and making eye contact with the people enjoying the music, #and that is absolutely lovely. I look forward to this again in future, as I remember that to be such a thrill and confidence booster.

Funny thing: I might add to the advise on this thread >>> NEVER FORGET YOUR SET LIST ! <<< I forgot the first time playing out a couple months ago and after about 8 or so tunes couldn't remember what else I knew (that I was practiced with...) Big Duh !#Fortunately I was only sitting in with my friend's band at a cafe, and they could carry on after I was finished. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

[twaaang]

I try to bear in mind that the tunes I'm playing are wonderful in their own right for melody and rhythm that I love; so the moment of performance is actually about the tune, not about myself, and all I have to do is cooperate with the tune to let it reveal itself and let the audience appreciate why I love it.

Sometimes I even bear this in mind all the way through the tune! -- Paul

[Jack Roberts]

Oh, I forgot. Smile and look at the audience. They aren't so scary if you are smiling at them.

[Jim Kirkland]

Being on stage is a little different that jams. Jams are usually hard because you have to outperform the next person. Performance is you and the band, all you have to do is entertain the audience. I find, since i'm the leader and spokesperson, that if I can say a few words at the end of a song, things loosen up. When we hit the stage, we go, nothing but music and songs until we have done 4 numbers. Then I mention the name of the band, Desert Willow. We watch a lot of performers, most are so into the music or afraid of what is happening, that they do not move very much, just look down and perform or sing, will not look out into the audience. We are bouncing on the stage, interacting with the audience, and with other band members. A lot of energy, which is enjoyable by the band and the audience. Had a promoter that said you must be entertaining to the audience, not to yourself. To me if I am unsure what to do, I just do it and it works out pretty well most of the time. At a recent festival, 3rd set, opening song was mine, the guitar player made one serious opening stroke of the strings and a string broke. Well I talked while he got his backup guitar, another serious kickoff stroke and he lost a string of the backup guitar, well I said a few words, like he is now going for my guitar, and I hope some one will grab a guitar just in case he trashes my guitar. Long story, I just cut the song and we moved on to the guitar player doing a number. I don't know know how you get over the fear, just have to do it. I have made presentations to over 10,000 people and did not sweat it, but I can do one number in church and it can be tough. Just go for it. Jim

[fishdawg40]

I posed a thread recently about this. #I guess experience on stage and of course practice at home (and with the band) is the best bet. Don't play anything that you haven't practiced before (a lesson I learned from the Golf Channel). Try to look your best (I wear black...maybe too much) and a cool hat maybe. Smile and know that this is a wonderful opportunity # # #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif

[MikeEdgerton]

Check your inhibitions at the door. Most people go through life worrying about what other people think of them. That does nothing to help you when you step out in front of a crowd. Once that part departs it's not all that hard to do whatever you need to do. Allen's advice to "do music you know how to do, that you're comfortable with, not at the edge of your knowledge and capability" is very good advice. A simple break played well will trump a complex one played badly. If you're unsure of your ability to pull something off take the safe route and make your bandmates and audience happy. Push yourself in rehearsal not on the stage.

It's been a long time since I've been nervous on stage. I don't know if that's good or bad.

[Cayenne]

Have fun! If you have a bandmate that is relaxed and seems to have an easier time of it, you can really feed off of his/her energy. Keep looking their way and it'll reassure you that it's all in good fun. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif

[jenjoyce]

>>> " Do music you know how to do, that you're comfortable with, not at the edge of your knowledge and capability" <<<
Excellent and sage advice ! Thanks!

[Tim2723]

MAKE ALL MISTAKES WITH AUTHORITY.

[Pen]

Try to remember that you are almost always the best mando player at the gig (obvious exceptions do come to mind). If there is another mando player in the audience - chances are they are glad to see a mando and appreciate your guts to do it on stage.

If you or your band mates have a meltdown - just smile and remember it will be a funny memory someday. Our first festival (like 3 years ago) we where doing a Stones cover and the guy singing the song forgot the words. Instead of letting us go around and come back in on the 3rd verse he lost his cool and yelled "F***" into the mic. We can't play that song anymore without one of us falling apart with laughter.

[cooper4205]

just to add to the advice, if you mess up on a break don't act like it. Just keep on trucking along like you meant to do it and odds are you'll be the only one to notice your blunder. Acting mad or making a face, etc. when you mess up is what gives you away 99 percent of the time (I learned this from experience).

[billkilpatrick]

Though I've never tested, if you eat a banana before hand it helps, they say.
i heard that test pilots recommend bananas as they are the only food that tastes the same going down as it does coming back up ...

singing and playing before a cam-corder helped me - i used to just die ...

[Flowerpot]

Live in the moment. Focus on what things sound like right then and there, and forget about the mistakes that just happened or what might go wrong later. Try to reach the audience (not by fleeing the stage!).

[Mike Snyder]

Man, are you ever getting some great advise for free. Not much I can add. Have fun. It's hard to be scared when you are joyful. I,ve seen some great performances ruined by musicians who looked mad. Check your zipper before you go on. And that toilet paper thingy that sticks to your shoe. Don't trip over the cables.

[allenhopkins]

#Jams are usually hard because you have to outperform the next person.
This phrase just jumped out at me. #Boy, would I ever stay away from those jams! #I can see taking this perspective if you're in a contest environment, but the jams I enjoy aren't competitions. #

Another thought about performance: beware of popcorn (if you're a singer). #I used to play bars that provided baskets of (stale) popcorn, and I'd take a handful during a set. #Next song, a small fragment of popcorn hull would unerringly find my vocal chords, and I'd cough my way through "Aaay-meee, what you wanna do" or some such.

And do check that your fly's closed. #Tony Orlando went through his entire first appearance on The Ed Sullivan Show with his zipper down, and after this faux pas, all he could do is sell a zillion copies of Knock Three Times and Tie A Yellow Ribbon. #So you see how fatal it is.

[Jonas]

What's helped me:
[1] #Avoiding obvious stress producers -- don't get there late, be sure you know how to get there (nothing worse than getting lost on the way to a gig, and showing up with 30 sec. to spare), have a program laid out that you've actually practiced, have spare strings, all the instrument stands you need, the right PA, a functional tuner, etc.

[3} #Play "within yourself" -- do music you know how to do, that you're comfortable with, not at the edge of your knowledge and capability.
These are just fantastic advice! Thanks Allen (and all others that has come with very good advice).

I sometimes seem to try to play at the edge of my capability on stage, which never works since I then sometimes forget to play into the mic or I loose tone or timing. Not a good thing!

For me, what works best is not having to improvise breaks so much on stage(which means I really should practise more before shows!). When I have to do that anyway, for example if I go somewhere I had not intended or forget what I did at practise, the key for me is to take it easy on the way out of the break.

[mandolirius]

<I sometimes seem to try to play at the edge of my capability on stage, which never works since I then sometimes forget to play into the mic or I loose tone or timing. Not a good thing.>

Time to review the good ol' 75% rule. Those of you who know it well, say it with me:

"You will never, with very rare exceptions that will become memories you will cherish for the rest of your life, perform on stage any better than 75% of the best you can play in your living room."

[jenjoyce]

I dig that 75% rule ! That's hillarious about Tony Orlando on the EdSullivan Show, I never knew that.

[MWM]

The 2 most important things: Smile and have fun. My partner and I start out with an easy duet and always smile at each other. When we see each others smiles it makes everything easy and enjoyable.

[BlueMountain]

If you are soloing and hit a wrong note, hit it a few more times. Then people know it was deliberate and think you're some sort of genius.

There was a guy who played a gig at a nudist resort and got through it by imagining how silly everyone would look if they were wearing clothes.

Playing solos with your eyes closed can help, and people think you must be very cool and confident. (Eric Clapton does that a lot.) Meanwhile, you can't see them.

Have the lighting guy shine a bright light in your eyes so you can't see the audience.

Learn a song well enough so you can carry on a conversation while playing it without missing a note. Then you are ready for the stage.

Play the song a bit slower than you practice it and aim at making it beautiful and putting in a lot of body English (unlike bawdy English, which is less appreciated).

[chordbanger]

Never wear sunglasses when you are in front of an audience. They like to see your face and eyes. I was at the microphone a few weeks ago, and flatpicked Under the Double Eagle, but the lap steel guitar player decided to go into the key of F with it. Oh, man, I did not know what to do, and struggled through it. I started it in the key of C, he changed keys to the key of F, and I ended it in C. I came home and learned how to play it in F, for next time. Unexpected things like that happen, and mistakes are made, but that is how you are going to learn, and be better for next time around.

[Bertram Henze]

It helps me a lot to imagine that it's not me playing, that I have sent a surrogate robot along that looks like me and plays like me, but who feels no pain nor fear. And I watch him play with a kind of detached attention.

Now that is not as abstract or esoteric as it sounds, because the part of my brain that did the practising and now does the playing is not really me (aka "Self 2" or "right brain half"). The trick is to delegate not only the skills, but also the stress and the mistakes.

Two restrictions come with that, however: I must not leave my robot alone (it's not that independent), and I must take the applause with modesty, because they applaude to my robot.

Bertram

[MikeEdgerton]

Never wear sunglasses when you are in front of an audience...
Unless of course your the Blues Brothers, Ray Charles or Stevie Wonder or if you happen to be outside on a stage where the sun is blinding you and you can't see anything without them.

[cwtwang]

I have had big train wrecks in front of the mic and I have found a few ways to avoid them.

1. Know your positions (scales/ways to find your way back) on the mandolin in case you cannot hear yourself (which happens a lot). I used to play mostly by ear which is great but memorizing finger positions is VERY important for when you just cannot hear yourself.

2. Practice with a metronome and have the whole band tight, not only with arrangement but with timing.

3. Practice up to a mic and standing up if you will be standing up on stage. Make certain your strap is the length that is best for you--some players prefer their mandolins to ride high, others low. Practicing sitting down and then standing up for a gig = big trainwreck!

4. Know where you go blank/have trouble and attach a little cheat note on your scroll with drafting tape.

5. When playing a kick-off, solo, focus ONLY on your playing and the band's playing--don't think at all about the audience or what is going on out there. Personally, I can sing and play rhythm to the audience but soloing is another story.

6. Don't try and play anything too fancy that you are on the edge of crashing and burning--the audience cares more about great tone, timing, and character, and the biggy--melody than a lot of fancy licks.

7. Play what and how you do best. The audience does not know if every note is worked out (ala Steffey) or if it is improvised so if you are not good at improvising, plan it all out and visa versa.

8. Know some simple licks (i.e honking 4-string down-strokes and arpeggios/chordal Monroe tricks/playing back down the neck in more familiar/easier territory) in every key to fall back on if you get lost in a solo. Scales, playing out of a chord and arpeggios are boring but they are necessary to know so that you will not crash and burn.

9. If you crash and burn, go on to the next song like it never happened and remember to breathe slowly and deeply and get your confidence back. If you knock out the next song, the audience usually forgets if you screwed up on the last song.

10. Stretch out well before you play and try to relax your whole body and hands.

11. It helps to have a few good one liners to disarm the audience. Everyone is human and the audience will love you for it if you can handle a trainwreck and not freak out.

12. Remember what went wrong and why--a certain passage you went blank on--and work those parts out to automaticity. If you think about what you are doing at that moment and do not think a beat or two ahead, that can really cause train wrecks.


I hope that helps because all those things help me and I'm still working on it.

Twang http://www.mandolincafe.net/iB_html/non-cgi/emoticons/mandosmiley.gif

[bobby bill]

Tons of great advice. I find that one symptom of nerves is counting into a song faster than you really meant to. Right off the bat you are on thin ice and now you really have something to be nervous about. I try to hear the first couple measures in my head first to make sure I'm at a good tempo and especially go easy on the first couple of songs. After the first couple of songs, there's not much to be nervous about. I mean - the cat's out of the bag.

[Keith Erickson]

Check your inhibitions at the door. Most people go through life worrying about what other people think of them. That does nothing to help you when you step out in front of a crowd.
If I also may add something Mike...

...it is natural for us to all want to be liked especially when we put ourselves in front of others but you are absolutely correct.

Allen, You hit a home run!!! #Tardiness is one of my cardinal pet peaves. #Its ranks up there with worst of the worst sins.

My only experience is the steady gig that I have every Sunday in our church choir (needless to say, I don't believe it would be in my best interest to show up to church liquored up). #

Listed below is what works for me....

-Know the material

-If I make a mistake, I just stop and recover as quick as possible

-Make sure that I have a great repoir with all of the choir members

Most of all, be yourself #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/mandosmiley.gif

Best of luck to you... #

Cheers #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/coffee.gif

[JeffD]

I try to bear in mind that the tunes I'm playing are wonderful in their own right for melody and rhythm that I love; so the moment of performance is actually about the tune, not about myself, and all I have to do is cooperate with the tune to let it reveal itself and let the audience appreciate why I love it.
Wow wow wow. This is it exactly.

It absolves you of that awesome responsibility to "entertain" that audience. All you have to do is play the music - the music, the tunes, have their own integrity and beauty. They will do the entertaining. Just play - and stay out of the way of the tune. Let the music do the work.

It not only calms stage jitters more than somewhat, it creates a really wonderful stage presence and atmosphere. You are there to share some tunes you love, in a way you hope will cause the audience to love them. You are just a facilitator, introducing your old friends (the tunes) to your new friends (the audience).

Those gigs where I have to perform, play some fancy blistering solo, some monster improvization, give me the most stage fright. Because at those moments the show ceases to be about the music and is about me. ...Well I am not that entertaining. Nobody would come to a show about me. (Then I graduated high school and had to return my school clarinet. The next week a got a summer job at.... )

My role model is someone like Mike Seeger, who plays exceedingly well, but lets the music do the work.

Those gigs that were the least about me and the most about the music have been the least terrifying, and as it turns out, the most entertaining. I am at my best when I am showing you why you should love the mandolin and its music - I want you to love the music, love the mandolin, not me.

[yoshka]

There is loads of really fantastic advice here from everyone.
I practice for gigs standing in front of a turned on mic on a stand, just how it would be at the gig, (as has been said before). #I get to the gig and I'm on familiar ground. It really helps me.
From Kenny Werner I have taken the idea of saying to myself: "I am great, I am a master". Not because I'm trying to convince myself of something false but because it's true! You are a master of what you've worked on and know well.

[recharred]

All the advice given here so far is excellent. I struggled mightily with getting back on stage after a long hiatus. When I searched all over to try to figure out how to get over it, I came across this (on a site aimed at violinists, I think), which sums up and echoes most of what's already been said here:

1. You have practiced to the best of your ability. Trust your automatic pilot to
do most of your work for you.

2. Do not judge what just happened or will happen. Only motivate and observe
(non-verbally).

3. Do not second-guess any audience member's reaction to your playing, as
your perception will probably be inaccurate. Please yourself only.

4. Be in the music, in the moment. Be on stage, not in the audience. Be in the
giving mode, not the receiving one.

5. Single out one aspect of your playing that is the top priority among things
you need to be reminded of at this time.

6. Enjoy! Let your emotions for the music be present. Let your excitement for
the music be present.

I printed these out, and I read them over calmly before each performance, and it has helped tremendously.

On a completely different tack, the other thing I found that helped me tremendously is Kava Kava, which can be found in most health food stores (in the States, anyway. Some European countries have put restrictions on it due to some extremely rare adverse liver reactions--I guess it's not just in the U.S. that such an irrational overreaction can happen. If you have a liver condition, you should probably stay away, but the cases of adverse reaction involved massive use that I would never advise for performance anxiety.)

A little Kava is in no way intoxicating, and it does wonders to just put one in the moment. I'm not sure if I perform any better when I have Kava beforehand, but I know it is a lot more enjoyable and less stressful, and I certainly feel like I'm playing better--more within the song, rather than thinking about playing the song.

I've come across a number of musicians in other forums who regard Kava or beta blockers (which are widely used among performing violinists--there's no playing with your bow-hand shaking!) or alcohol or whatever as "cheating," but I really think that's preposterous. Breathing exercises, meditation, all the tricks noted above set out to create the same state of mind through some other technique. What matters is getting there for the sake of the music, not how one gets there. Besides, the notion of "cheating" itself betrays that one conceives performing music as some sort of competition, which others have already noted should be right out.

Anyway, I still get a bit nervous, but these approaches have made performing enjoyable for me again. I hope everyone can find what works for him/her!