Completely agree. Some of my better performances have been when I've lost myself in the music. If you can do this, in spite of the pressure, there's no room inside your mind for nerves or distractions.Gwynedd wrote: ↑Mon Jun 05, 2017 10:50 amWhen I'm not nervous, it's after we've chatted about the piece I played (badly) and then I do it again with some of the changes we talk about. And at that point, I can get into the music and forget the audience and even myself. I call that "being in the music" or "in the bubble." Nothing exists but you and the guitar and the music and it's all a unit. If I could find a way to hypnotise myself into that space, I would not have stage fright.
Yes, it seems to me, the issue of ego is often overlooked. No one wants to make a fool of themselves, but even so, wanting people to think well of your performance is a no no.tgwilt wrote: ↑Sat Jun 10, 2017 3:41 amNone the less, I finally came to the realization that the problem was based on my ego. I had never really grokked that music is a gift and performing is the act of giving this gift to others. Once this finally settled in, things went much better, even better than when using a beta blocker.
It's been my experience that most people who listen to you are not listening for the mistakes. They just want to enjoy your gift to them.
Alan, you have to remember that mistakes always loom much larger in the mind of the performer than the audience.ashepps wrote: ↑Sat Jun 10, 2017 4:08 amTom, I find it is still the mistakes that bother me and it is just not simple to forget that! I have started to record myself, but that is just a day ago. That does bother me, as mentioned, but I hope it helps. There is nothing else that I can see to do.
Crumbs, I never knew this about Segovia! I know that Rachmaninov was often pushed onto the stage, though. People do suffer, for their art!mordent wrote: ↑Sat Jun 10, 2017 6:56 pmThe great Segovia suffered badly from stage fright such that he was physically sick before a performance and indeed his manager had to push him on the stage. He said that he had to use this excessive adrenaline as anger or excitement but how this was achieved is beyond me. The guitar is such an unforgiving instrument in that there is but a millimetre of free space between a finger and the adjacent string .Segovia had particularly large thick fingers so how he coped with the stress of walking onto the New York stage in front of thousands of expectant aficianados with the adrenalin pumping through him is miraculous!.Perhaps in his particular case it did not manifest in trembling fingers.
I agree with this line of thinking.However, I do know that Segovia once said you don't have to be able to play a piece 100%, in practice, but 120%, because there's always a significant drop once you're out there.
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