Performance Anxiety

[David Shade]

One of the biggest problems for performers is anxiety. I'd like to hear if anyone has had this issue and how they dealt with it. Folks who don't get particularly nervous, why do you think you don't? Those who have overcome it, how did you do it?

I've changed this post (3/8/09). This discussion became about me, which is not exactly what I intended. I do appreciate all the great comments from everyone and there is excellent information from the brain trust of the community.

I am in hopes that this will be a general discussion regarding performance anxiety in which everyone will free to offer their experience good and bad - when you realized you had mastered your anxiety, when you totally fell apart and what that was about, etc. I hope this will be a place where anyone might feel comfortable asking a question and be a resource for performers.

[Ship of fools]

I equate it to talking in front of large groups, once you have done it several times and realize there was nothing to be frightened from, it becomes part of who and what you are. The more you give fear credence the more it will become part of you. In other words the more you give it value ( fear ) the more it will over take you.
We have all made mistakes on stage at one time or another its how you handle it during those times and making it like as if it never happened, after all none of us were born to perfection, its only what we expect from ourselves, to err is human and to move on is strength.So I hope my quarter was enough for you and remember that you too are enjoying making the music and sharing with friends because that is all an audience is, just friends that you haven't seen for a while.ship

[Donna Zitzelberger]

This is a very big issue for many musicians. In fact, many orchestral musicians will medicate with a drug called Inderol (I think that is the drug) to decrease anxiety before a performance. Segovia said he died a thousand deaths before every performance. On the other hand, when Julian Bream was 12 and watched people playing at a guitar society, he said, (paraphrase) "what's wrong with these people, have they got some sort of shaking disease?" He didn't seem to ever suffer from performance anxiety.

There are lots of books written on this topic -- one of the best that I have found is Barry Green's "The Inner Game of Music". I've also attended some workshops done by Scott Kritzer on Performance Anxiety. He is in Portland and he does an entire series call PAR (performance anxiety rehab). Scott is a concert classical guitarist that went through tons of anxiety before performance. He finally came to the conclusion that he either had to face this demon or give up. He decided to face the demon and he has done lots of research on the topic and helped students overcome this issue by understanding it.

The issue is complex. One of the biggest problems is seeking perfection. We are not perfect and in performance, we are always going to make a mistake. The point is to just let it go and continue on.

That being said, if you stay in the moment and listen to every note as you are playing it, you become more the music and less thinking about what people thought of your mistake or what they are going to think when you hit the next measure which is the hard one and you may screw up.

Another is THINKING too much when you are playing rather than just playing the music at the moment you are playing it. The new age spirituality text by Eckhart Tolle -- eg. "The Power of Now" can really help with learning how to stay in the moment. Our minds are constantly running thoughts a million miles an hour and it can be very hard to focus.

Inner Game of Music talks about 2 voices in our head that are running those thoughts. Voice 1 is the critical voice, Voice 2 is the voice that tells you you are amazing. Voice 2 gives you the confidence and courage to say -- "Yes! you must perform. You are a great player and have a lot to share." Voice 1 is the voice that tells you -- "here comes the difficult measure, don't screw up like you always do, everyone is watching now".

What Scott teaches is to practice for performance. And that doesn't mean to pretend you are playing in front of a group - but instead work to get 80% of voice 2 in your head when you are practicing. He takes people through a series of exercises to help become aware of voice 2 and to help keep it there.

Scott also teaches it's important to perform as much as possible. The more you do it, the more you you figure out where the rough spots are. And, in the performance venue, you just never know what is going to happen. A mic may go out, a baby may fall off a chair and start screaming (this happened to one of my students -- and he just kept playing while he looked quizzically at the screaming kid!).

If you want to read more about Scott or talk to him about his PAR program here is his website: www.scottkritzer.com

There is then always the question - why do some people react like Segovia and others like Bream. What I can tell you is just from my own observation from watching various interviews of both of these artists. Segovia felt it was all about him; Bream felt the music came from a higher power or other source. Bream says in his DVD "My Life In Music" (again paraphrase), "The music as it were comes through me and out to the people".

I recently heard a talk by an author who says that in ancient Greek/Roman times people believed that those who were creative were influenced by creative spirits and the creativity came through that. Therefore, the creative person wasn't necessarily acclaimed, but they were said to have this influence. Then when they screwed up, they also weren't seen as failures. That is different in our society -- artists are very vulnerable -- acclaimed as Gods when they have a big hit and doomed to failure if they don't continue to be perfect in every performance.

Some of Segovia's final performances were filled with error in his playing. Young classical guitarists mocked Segovia, but what they missed was that Segovia was interpreting the music like no one has ever been able to do. So looking for perfection seems to be the key of demise in artistry.

Some thoughts that may help,

Donna

[David Shade]

Donna,

Thanks for that thoughtful answer. I like the idea of listening to voice 2. Who doesn't like to hear it's amazing? So practice with the cup half-full. Good idea.

Donna said:

This is a very big issue for many musicians. In fact, many orchestral musicians will medicate with a drug called Inderol (I think that is the drug) to decrease anxiety before a performance. Segovia said he died a thousand deaths before every performance. On the other hand, when Julian Bream was 12 and watched people playing at a guitar society, he said, (paraphrase) "what's wrong with these people, have they got some sort of shaking disease?" He didn't seem to ever suffer from performance anxiety.

There are lots of books written on this topic -- one of the best that I have found is Barry Green's "The Inner Game of Music". I've also attended some workshops done by Scott Kritzer on Performance Anxiety. He is in Portland and he does an entire series call PAR (performance anxiety rehab). Scott is a concert classical guitarist that went through tons of anxiety before performance. He finally came to the conclusion that he either had to face this demon or give up. He decided to face the demon and he has done lots of research on the topic and helped students overcome this issue by understanding it.

The issue is complex. One of the biggest problems is seeking perfection. We are not perfect and in performance, we are always going to make a mistake. The point is to just let it go and continue on.

That being said, if you stay in the moment and listen to every note as you are playing it, you become more the music and less thinking about what people thought of your mistake or what they are going to think when you hit the next measure which is the hard one and you may screw up.

Another is THINKING too much when you are playing rather than just playing the music at the moment you are playing it. The new age spirituality text by Eckhart Tolle -- eg. "The Power of Now" can really help with learning how to stay in the moment. Our minds are constantly running thoughts a million miles an hour and it can be very hard to focus.

Inner Game of Music talks about 2 voices in our head that are running those thoughts. Voice 1 is the critical voice, Voice 2 is the voice that tells you you are amazing. Voice 2 gives you the confidence and courage to say -- "Yes! you must perform. You are a great player and have a lot to share." Voice 1 is the voice that tells you -- "here comes the difficult measure, don't screw up like you always do, everyone is watching now".

What Scott teaches is to practice for performance. And that doesn't mean to pretend you are playing in front of a group - but instead work to get 80% of voice 2 in your head when you are practicing. He takes people through a series of exercises to help become aware of voice 2 and to help keep it there.

Scott also teaches it's important to perform as much as possible. The more you do it, the more you you figure out where the rough spots are. And, in the performance venue, you just never know what is going to happen. A mic may go out, a baby may fall off a chair and start screaming (this happened to one of my students -- and he just kept playing while he looked quizzically at the screaming kid!).

If you want to read more about Scott or talk to him about his PAR program here is his website: www.scottkritzer.com

There is then always the question - why do some people react like Segovia and others like Bream. What I can tell you is just from my own observation from watching various interviews of both of these artists. Segovia felt it was all about him; Bream felt the music came from a higher power or other source. Bream says in his DVD "My Life In Music" (again paraphrase), "The music as it were comes through me and out to the people".

I recently heard a talk by an author who says that in ancient Greek/Roman times people believed that those who were creative were influenced by creative spirits and the creativity came through that. Therefore, the creative person wasn't necessarily acclaimed, but they were said to have this influence. Then when they screwed up, they also weren't seen as failures. That is different in our society -- artists are very vulnerable -- acclaimed as Gods when they have a big hit and doomed to failure if they don't continue to be perfect in every performance.

Some of Segovia's final performances were filled with error in his playing. Young classical guitarists mocked Segovia, but what they missed was that Segovia was interpreting the music like no one has ever been able to do. So looking for perfection seems to be the key of demise in artistry.

Some thoughts that may help,

Donna

[Christie Donnelly]

umm yeah - i had this so bad that when i was in high school trying out for choir, i broke out in tears.
i still feel this way so much because when i write its so personal and being a solo artist everything is counting on you.
when i decided that i would try to take my original works to the public i started out playing on the side walk in
front of places of business or busy streets. I would play to people and look at them as they drove past or walked pasted. i soon found out that people are a lot of the times intimidated by someone looking at them and singing and playing music" it was very strange for me finding this out. so now i try to make as little eye contact as possible and also if i feel like i might cry because im remembering the emotions that brought the song to me, i say things in my head to myself like *auntie Em* when im performing my song for my daughter "Emily's Song". I think of the wizard of Oz and it keeps me from crying. I think its called a psych out.

[Reed Elliott]

I also equate public speaking to playing guitar in public in that if you have the material mastered and know it extremely well, the nervousness is minimized. I occasionally will play with another guy in church as accompanyment to a small choir and as long as he's playing with me I'm not at all nervous. But when I play a solo fingerstyle hymn as an offertory I get real nervous and have even drawn a blank on material that I thought was up to performance level. I think it just has to do with the confidence that you can play the piece perfectly and if there is a spot or two within the piece that you haven't really perfected, you could be in for some trouble, and as a result your nervousness will increase. I guess this is a long drawn out explanation that could be summariezed as "know the material perfectly and you'll be less nervous"!

[Joanne Fekete]

Good answer, Reed. I think it might also have something to do with whom the focus is on. When you are accompanying someone else (singers, another instrument), the focus is not on you, at least not wholly. When you are fingerstyling a solo, you are IT. I am definitely more comfortable when playing with others verses being in the spotlight (as it were).

So for me the jitters generally overtake me when I realize the eyes are on me.

As a church musician like you, though, I try to remember where the message of the music comes from and mentally take it out of my own hands...

[David Shade]

Thanks for your input, Reed. I think there are probably several causes for anxiety. I have had the same experience of blanking out during a performance, but it was not because I didn't know the material. I have been very nervous playing something I have played for 10 years and even pieces of my own. I agree, though, that trying to play something you haven't fully mastered is a big mistake.

I have no anxiety playing in a group. Thus, it is the fact of being solo that has to do with my anxiety which is bolstered by stupid thinking. You feel like mistakes hang out there, but most people when you ask them don't notice that you even made the mistake. Then there are ridiculous self-demands for perfection, to have people appreciate your playing - be impressed, thinking it doesn't sound as good as in the living room the other night, just over thinking, etc. The list goes on and I believe that's where my demons lie. I ran out and purchased The Inner Game of Music suggested by Donna (see above) and I feel that this will be helpful as well getting out there and doing it a lot.


Reed Elliott said:

I also equate public speaking to playing guitar in public in that if you have the material mastered and know it extremely well, the nervousness is minimized. I occasionally will play with another guy in church as accompanyment to a small choir and as long as he's playing with me I'm not at all nervous. But when I play a solo fingerstyle hymn as an offertory I get real nervous and have even drawn a blank on material that I thought was up to performance level. I think it just has to do with the confidence that you can play the piece perfectly and if there is a spot or two within the piece that you haven't really perfected, you could be in for some trouble, and as a result your nervousness will increase. I guess this is a long drawn out explanation that could be summariezed as "know the material perfectly and you'll be less nervous"!

[Steve Reeb]

I agree with ShipofFools, if you do it enough it will become second nature and you will hit your comfort zone. I've been playing for years and remember most of my anxiety being associated with not having a more complete set list, not being sure of lyrics and/or chords to everything, worrying if a crowd would show up, etc. In other words, I looked for the root of what anxiety I had and worked to alleviate it by working toward a great songlist, memorizing everything, promoting myself as best I could, and not really worrying if I screwed up now and again (everyone does, and I will when I get out to my next gig in about three hours).

It comes down to one thing: Confidence. Work hard on your show and your preparation; you will become so confident and your fears, or anxiety, will disappear. Now get out there, have fun, and give 'em a great show!

[Leanne Regalla]

I stumbled on this discussion by accident, but I agree with what Donna said (I have also attended Scott Kritzer's workshop - it's very good) and practice living "in the moment" and not "in my head".

Of these two things - the second was the most important skill I have gained not just in performance but in everything creative that I do, writing, songwriting, living. :)

The absolute single best resource I have found to deal with this issue are live music producer Tom Jackson's materials. www.tomjackson.com. Tell him I sent you. :) [He doesn't know me.]

You have to understand the basic fundamentals of performing. They are different than those of playing your instrument. You do have to look at people, but there is a right time for that. And you MUST PRACTICE performing. That means everything, over and over, in your house. Rehearse. Plan. How you are going to walk, what you are going to say, how you will make transitions. Does this mean we can't be spontaneous? No. But it does mean we have a framework and we are prepared.

Sounds like Steve has a very good approach to this.

This is the source of confidence. I speak only from experience. I spent years never playing for anyone (which is pretty darn hard as a teacher, let me tell you!) or opening my mouth to sing.

I also never bought into the philosophy of "just get out there and do it". IOW, practice on the stage. Learn the hard way, in the school of hard knocks. That's so pointless and damaging, but it's conventional wisdom. Too many of my teachers took that approach. You know the song or piece, now just get out there and be confident and do it.

After practicing performing, it's accepting yourself for who you are and where you are in your development right now. You really have to put your ego aside and trust that you are where you need to be.

[David Lenef]

I haven't heard of him before, but Leanne's link to Tom Jackson doesn't work. I think the link to Tom Jackson is this: http://www.tomjacksonproductions.com/

--dave

[MIkE kING]

“The key is not to chase the butterflies in your stomach away; it is to get them to fly in single file.”

Hello David Shade, It's nice to meet you...I too am a soloist. From time to time, I perform with others; nevertheless, I even prefer to perform as a solo no matter what the size crowd for (hate to say it) lack of professional's in my area. There are some and I am blessed to meet with them and perform, but to form a band would include more ingredients than available at this time.

I serve in the medical field as a cardiac-ultrasound technologist in Echocardiography [www.onelook.com], and get to see a lot of things that I consider tragic, amazing, painful, and intense as well as enjoying and challenging. In order to handle most of what I see that bothers me or causes stress and anxiety and I care a lot about the people souls, bodies and all [about 100 a week with around 5 folks on average passing away in trauma’s and ICU’s]…I perform my shows for the private parties and public settings around the city to release most of the anxiety and stresses.  It really works!

So I what I saying is, my acoustic performances, my night job is what I use as a “Calgon bath” for my day job stresses. I try to give myself plenty of space on stages, time to set the stage for a comfortable setting, songs to perform that are good for others as well as my own health and mind, plenty of relaxed practice, recordings to critique [and home rough drafts and for my wife live living room practices with her comments and critiques] and I don’t drink or smoke. I eat healthy, exercise, pray study the Bible regularly [Philippians 4:5-7, if you reads your Bible, www.biblegateway.com], and pray before each performance whether I feel like it or not. I like to drink hot teas and take my time setting up stage props, rugs, candles, equipment etc. I don’t always have time so I am stressed from time to time.

In this, I am patiently growing to practice what I saw in a Circus magazine year ago, I believe read Eric Clapton say something to this effect—The energy you miscalculate will most likely cause you to stumble in your performances. Energy channeled rightly is useful and when one is stressed or anxious, they should consider this as unidentified energy and practice channeling it into their performance. So jitters, stress, anxiety and things of that nature can be channeled into performance energy when you learn how to use it for the love of people and performing. The why you do is often more important than the what you do.

“The key is not to chase the butterflies in your stomach away; it is to get them to fly in single file.”

As in my medical work, I practice a universal comfort for patients and audience as for technologist and acoustic performer. This is why I also joined this community as of a couple of weeks ago; you all heal my heart and encourage me too. Thanks for being here David and for asking others to share their minds with you. It is uplifting and freeing to share experiences and solve puzzles together. Success is working to make others succeed. I have not read others' responses to your question so I hope this is helpful to you.

[Richard W]

You are not alone, when I play live my palms get so sweaty I have a hard time holding on to my pick, but I've learned to breathe and found that practicing like it is a live performance (no stopping if you make mistakes, recording the practice, etc.) helps get more comfortable with that live performance feeling.

The Inner Game of Music is pretty good. Also practice so even though you are nervous you can work through it. Also, you might ask yourself...what's the worst that can happen? If you get 'lost' just go tacit, look confident and come back in when you feel good or cue the band to come back in. Most people don't notice! Everyone makes mistakes, the faster we accept it and stop seeking perfection the better. For me it comes down to accepting and loving yourself despite the stumbles along the way that WILL happen (and practicing your butt off so you'll do the best job you can).