TrumpetMaster - View Single Post

tpter1 · 11-21-2005, 09:31 PM

Not Manny by any stretch, but I'd like to add my $.02.

Let me first start by saying that I do not advocte using medications. This is for 2 reasons:
1. You have the means within you to handle this.
2. I like to be aware. Fully aware. Of everything.

Try the banana. I've heard lots of good things about that.

That said, I have much else to say. I'll try to be organized.

Nervousness is parallel to excitedness in terms of what your body does. (Shortness of breath, drymouth, racing heartbeat, loss of mental focus, shakiness). This is also a very natural reaction to a very unnatural act.

The first thing we need to do is gain control of our breathing. From that stem about 90% of all performance problems, so getting that back is critical. Take a few deep breaths; in through the nose and out again through the mouth, forming a pucker as if whistling on the exhale. (Yogis know this as a cleansing breath). That should alleviate most of the physical ailments, except maybe for dry mouth. Try to drop your shoulders.

I was talking this weekend with a very fine clarinettist who makes himself yawn before performances to get the breathing moving.

When you take the stage (or enter the performing area), ALWAYS take the time to adjust the space to YOUR comfort and YOUR needs as much as possible. If the stand is too low, raise it. If it's too tall, lower it. Too close, move it away. Too far away, move it closer. If you can and prefer to sit and the chair has been moved away by the last player, move it back. Take your time and do not rush setting up. (But don't dilly-dally; just be efficent).

Another critical area is preparation. How well we are prepared goes a long way to asuage any nerves or will comopund any nervousness we may feel if we are less than ready. You should be able to perform your piece in its entirety a couple weeks before the scheduled event. Multiple times in a row. Why? So you can have a reserve of endurance; so you know you have it. Are you playing music that is techinically so far beyond you that you don't even stand a chance of learning it? Is it an appropriate challenge (a bit of a stretch, but doable?) Is it your absolute hardest thing, right at the edge of your ability? Some of us do well under those circumstances, but others of us like to feel we have a bit of reserve. Determine which group you belong to.

Also, consider the following thoughts:
Ask yourself: what am I afraid of? Are you afraid of falling on your face? What's the absolute worst thing that will happen? You will either be released with a "thank you but" letter to follow, you will get a rating that you don't feel satisfied with, you might feel embarassed, but, you'll also get up the next day and it will be behind you. So will the rest of the world.

OR, are you really afraid that you might be offered the position? That you'll get that A+ or 100 or whatever rating is at the topmost elite? That YOU will be the section leader?

Your mental approach to an audition is opften the key determining factor as to how nervous you will get. For me, I take them for the experience. I have a "day job", and do not need to get into college, so I am much more relaxed about the whole process. I used to get so nervous at auditions even just seeing the sign posted "AUDITIONS. Cat caller for new Dr. Seuss play needed" would have given me fits. It's all about perspective.

In the practice room, simulate your nervousness condition by running in place. This causes shortness of breath, weakness, racing pulse. Begin dealing with it in your practice, so it becomes commonplace in your performance. Keep a bottle of water handy, and rinse out your mouth (not drink) to aid dry mouth.

That's alot of info. I hope it's organized enough to be helpful, not just a bunch of random suggestions.[/i]

11-21-2005, 09:31 PM	#4 (permalink)
tpter1 Forte User Join Date: Jan 2005 Location: Northern New York Posts: 2,309	Not Manny by any stretch, but I'd like to add my $.02. Let me first start by saying that I do not advocte using medications. This is for 2 reasons: 1. You have the means within you to handle this. 2. I like to be aware. Fully aware. Of everything. Try the banana. I've heard lots of good things about that. That said, I have much else to say. I'll try to be organized. Nervousness is parallel to excitedness in terms of what your body does. (Shortness of breath, drymouth, racing heartbeat, loss of mental focus, shakiness). This is also a very natural reaction to a very unnatural act. The first thing we need to do is gain control of our breathing. From that stem about 90% of all performance problems, so getting that back is critical. Take a few deep breaths; in through the nose and out again through the mouth, forming a pucker as if whistling on the exhale. (Yogis know this as a cleansing breath). That should alleviate most of the physical ailments, except maybe for dry mouth. Try to drop your shoulders. I was talking this weekend with a very fine clarinettist who makes himself yawn before performances to get the breathing moving. When you take the stage (or enter the performing area), ALWAYS take the time to adjust the space to YOUR comfort and YOUR needs as much as possible. If the stand is too low, raise it. If it's too tall, lower it. Too close, move it away. Too far away, move it closer. If you can and prefer to sit and the chair has been moved away by the last player, move it back. Take your time and do not rush setting up. (But don't dilly-dally; just be efficent). Another critical area is preparation. How well we are prepared goes a long way to asuage any nerves or will comopund any nervousness we may feel if we are less than ready. You should be able to perform your piece in its entirety a couple weeks before the scheduled event. Multiple times in a row. Why? So you can have a reserve of endurance; so you know you have it. Are you playing music that is techinically so far beyond you that you don't even stand a chance of learning it? Is it an appropriate challenge (a bit of a stretch, but doable?) Is it your absolute hardest thing, right at the edge of your ability? Some of us do well under those circumstances, but others of us like to feel we have a bit of reserve. Determine which group you belong to. Also, consider the following thoughts: Ask yourself: what am I afraid of? Are you afraid of falling on your face? What's the absolute worst thing that will happen? You will either be released with a "thank you but" letter to follow, you will get a rating that you don't feel satisfied with, you might feel embarassed, but, you'll also get up the next day and it will be behind you. So will the rest of the world. OR, are you really afraid that you might be offered the position? That you'll get that A+ or 100 or whatever rating is at the topmost elite? That YOU will be the section leader? Your mental approach to an audition is opften the key determining factor as to how nervous you will get. For me, I take them for the experience. I have a "day job", and do not need to get into college, so I am much more relaxed about the whole process. I used to get so nervous at auditions even just seeing the sign posted "AUDITIONS. Cat caller for new Dr. Seuss play needed" would have given me fits. It's all about perspective. In the practice room, simulate your nervousness condition by running in place. This causes shortness of breath, weakness, racing pulse. Begin dealing with it in your practice, so it becomes commonplace in your performance. Keep a bottle of water handy, and rinse out your mouth (not drink) to aid dry mouth. That's alot of info. I hope it's organized enough to be helpful, not just a bunch of random suggestions.[/i] __________________ -Glenn "Roses have thorns; shining waters mud. Clouds and eclipses stain the moon and the sun; and history reeks of the wrongs we have done. After today, after today, consider me gone."- Sting