Posts Tagged ‘performance’

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Ownership

May 19, 2017

It’s amazing how many times I’ve heard:

“I aced that test.”

or

“I played great.”

And from the same people:

“The teacher gave me a D.”

or

“Umm…my valve stuck…the print was too small…with Venus in retrograde there was just no way.”

It’s very easy to take credit for the good stuff.  When everything is going well and you’re getting positive feedback, ownership is a piece of cake.  It’s when stuff starts going poorly that ownership gets more difficult to assume.  It’s not unusual to look for excuses, or someone else to blame.  Resist that urge.  You must own all that goes right along with all that doesn’t.

Remember this:

A bad performance doesn’t make you a bad person.

Musicians, like many other professionals, often tie their work to their overall self-esteem.  This is very dangerous.  Playing trumpet well does not make you a good person.  Taking pride in a job well done is very different than believing that, because you happen to play well, you’re a gift for the world to enjoy.  On the opposite side, a bad concert doesn’t make you some kind of sub-human never allowed to see sunlight ever again.

While it’s natural to feel good after playing well and not as good after playing poorly, what you do with those feelings is very important.  If you take your good performance as a sign of how great you are, it’s unlikely you’ll keep getting better.  And if you believe your bad performance proves every negative thought that has ever entered your head about yourself, it’s also unlikely you’ll grow from that.

The first thing my students hear from me after finishing playing something is usually, “How do you think that went?”  The answer to that question will show what the student noticed about that performance.  I want to know what the student thinks went well as well as what needs work.  Because most of the time we spend practicing is alone, it’s vital that we learn self-diagnosis.  Once we figure out what was good and what still needs attention, we know what to practice.  At the end of most lessons, my students hear, “So you know what to practice?  And how to practice it?”  When the answer to both questions is yes, I let them go, looking forward to hearing them the following week.

To truly enjoy the gratification that comes from a great performance, and you should, you must completely own the frustration of those performances that weren’t your best.

One last thing- the day after that performance, no matter how it goes:  Get back in the practice room.  There’s still plenty of work to be done.

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The Power of Mental Focus

May 13, 2015

In the time I’ve been teaching trumpet lessons, I’ve worked with students of all ages, interest levels, and experience- beginners getting their horns for the first time, high school students, professionals, come back players, and of course college students.   For the long term growth as a musician and trumpet player, one of the most important concepts (and sometimes the most difficult to teach) needed is mental focus.

When I first started teaching beginners, this is what I told them:

“If you practice everything I give you, the stuff you are responsible for in band is going to be pretty easy.  You’re going to sound really good in band, and your director will be very happy with you.  Your director and the other kids in band will think you’re very good.  But we’ll know the truth.”

Then I would explain to them what I meant by “the truth.”  The truth is that our playing is always changing.  Done right, our playing is always growing.  In the big picture we need to do two things:

  1. Practice how to play the horn. In other words- fundamentals.
  2. Practice what to play on the horn.  In other words- music.

(There’s a lot of overlap here, as fundamentals should be played musically, and playing music can certainly inform our technique and spur fundamental growth…but that’s a discussion for another day.)

So “the truth” is that there is always work to be done on our playing.  Always.

There are two reasons I told my beginners this.  They are:

  1. to give them confidence when playing in a group, whether in a performance or rehearsal, that they have the tools necessary to do a terrific job.
  2. to stave off the stereotype of the “cocky trumpet player” by letting them know that there’s always more work to be done.  When things go well, it’s a result of good practice, and not because they were anointed by magic fairies at birth with a special potion that made them the greatest players the world has ever heard.

This worked well. Since I started teaching college, it has surprised me how many students get this backwards.  I hear how their thought process in rehearsals and performances focuses on what is lacking, and the thought process in the practice room focuses on how good everything is.

I found this troubling.  So, like always, let’s start with the easy stuff:

Everyone has strengths and weaknesses

This seems like a simple enough statement.  Here’s why I bring it up.  When in a group, it can be easy to focus on someone else’s strengths, especially if they are your weaknesses.  This is a quick road to Insecureville, which is right next to Underconfident City.  Once you arrive there, it’s very difficult to play your best, as you will be telling yourself how much you can’t do.  Similarly, there are those that like to focus on someone else’s weaknesses, especially if it matches their strengths.  This is the express lane to Conceitedton, which borders Cockyberg.  Once you arrive there, you are so sure of yourself you don’t play your best because, no matter what comes out of your horn, you’ve already convinced yourself you’re the greatest thing since the invention of nachos (mmmm….nachos).

These are bad places for your mind to dwell.  Here’s how mental focus can help.

When practicing, focus on your weaknesses

Again, this may seem simple.  For a lot of people, closing the door to the practice room and really admitting to and working on a weakness can be very difficult.  Once you really commit to this kind of focus while practicing, you’ll see the benefits.

Which brings us to:

When performing, focus on your strengths

When it’s time to play with others, your mental focus needs to shift. Finding the mental place of being confident without being cocky can be a challenge.  Your mental focus will be most beneficial if it is focused on what you bring to the performance.  If you’ve been practicing well, this can help, as you’ve built a habit of playing the instrument well fundamentally and musically in the practice room.

The Circle of Growth

If you can take charge of your mental focus, you can build a circle of growth.  At the top of the circle is practice.  Since you’re focusing on your weaknesses in the practice room, you’re getting better and better at the instrument, building your confidence in what you’re able to do.  At the bottom of the circle is performance.  Since you’re focusing on your strengths in performance, your performances become better, building upon the good habits you’ve build in the practice room.  After your performance, you take what didn’t go as well as you’d like in the performance into the practice room and treat it as a weakness to be worked on.

Keep doing this.  Forever.

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Level of Expectation

January 7, 2015

Here’s one of my least favorite phrases:

Good enough

What that means to me is that it’s not as good as could be, and that it’s okay to settle for less than an optimal result.  I’m not okay with either thought.

Level of expectation can be a difficult topic of discussion, as everyone is in a different place.  So I will try to be as clear as possible.  There are many times when I’ve witnessed players of all levels finish a performance and say something like:

…but that’s not how I play.”

Here’s the truth:

That is how you play.

If you’re unhappy with your level of performance, it’s likely that you should be unhappy with your preparation.

Too often, people dutifully spend time in the practice room hacking away until it’s time to be done for the day.  When a performance comes around, they think the mindless practice (“But I practiced 2 hours a day every day this week!”) will magically transform into a higher level of performance.  That’s not how it works.

If you truly want to raise your level of performance, it starts with how you are practicing.  Here are some guidelines to help you get started:

  • Before you start practicing, have a idea of what that session will accomplish.
    • It could be as simple as figuring out where you’re going to breathe, or increasing the tempo by 5 beats per minute on a particular piece or passage.
  • When you have accomplished what you set out to do, move on.
    • If you finish quickly, set another goal and continue.
    • If it takes a while, then it’s time for a break.
  • Practice performing.
    • If the performance is the first time you’ve played that piece all the way through without stopping, you have not set yourself up for success.
  • The quality of your practice, not the quantity, is the most important aspect.

Now comes the hard part.  You’re practicing dutifully, holding yourself accountable, and making real progress in the practice room.  The next performance comes around, and you’re still not happy.  That’s okay.  Take each performance you get as a check-up on how you’re doing.  Be honest with yourself about what’s getting better and what needs work.  Then get back in the practice room.  Repeat this…forever.  If you do it right, you’ll get better and better while still realizing there will always be reasons to practice, and the process of learning and musical growth is neverending.

And you’ll know what I tell my students on a regular basis:

Good enough…isn’t.