What do you think about when you're performing a piece?
Hello! When performing a piece you know well, like for a recital or performance, what do you think about?
I have a few pieces that I know really well. I basically have the notes memorized and what I should do in terms of technique, but when I play from start to finish, I tense up and find myself not able to play the piece well at all. I know I'm focusing too much on the technical parts of the music and I should loosen up and try to tap into the emotional element of the piece, but not sure the best way to do that without thinking about something different, like a memory or a scene or something. Would love to hear thoughts on this.
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Hi Annabel!
Yes I try to think about the music in terms of a story but also in terms of āspeaking the notesā. In other words, just like we tell a story in English or any language, we impart inflections and phrasings. I think about that and also ālinesā that literally can represent the contour of the music! Sometimes If I am playing a passage with many harmonic changes, I think about shades of color changing. Usually though before I begin a piece I am thinking about the first notes, what they are, and running them through my head so that the music can begin with security. Many things to think about. Sometimes in your first performances, you might be thinking about the notes a lot because you arenāt used to playing a particular piece in public! It also takes a few performances for the music to feel comfortable :)
Curious to hear other peopleās thoughts!
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Dominic Cheli I enjoyed your response! That makes sense, and it shows quite powerfully in your playing!
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Hello! This is a great question.
Yes, I know the feeling of not playing as well in performance as I am capable of, but I also now the feeling of doing it well.
When it comes to the performance I don't want to be thinking about anything! Just letting the music flow threw me. It might feel like a big risk, but it is the only way I know of. This is very much in line with what you and Dominic are saying with connecting with the emotional part of the music, that is exactly what I would recommend.
Also I listen very intently to all the melodies, harmonies and moods, and in a way I want to have the sense of creating the music in the moment like it's an improvisation.
When it comes to before the concert, I do the same thing as Dominic, thinking about the first notes and nothing more of the piece. Thinking about/connecting with the mood and tempo.
There are more things to preparation that would be very helpful for this! Dominic just did a Live session on Preparation away from the piano that would be helpful. Also he suggest doing "run-threws" witch are low profile performances. Even the best does this to feel secure! I will also say, connecting to your breath, body, and particularly the weight of the arms and fingers is useful.
Interesting discussion!
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Sindre Skarelven This is an interesting discussion, and I appreciate your thoughts! Making the emotional connection is vital, and I like your emphasis on the music feeling so much in the present as to feel improvisational. Alive!
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Sindre Skarelven Great comments Sindre! I agree 100%!
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Thanks Dominic and Sindre for the tips!
I recently finished reading A Gentleman in Moscow (great book!), and there is a part where one of the characters is able to achieve great musical expression with a Chopin piece by thinking of the few memories she has left of her mother. It works great for the book, but it had me curious if pianists actually do that or not.
One of the songs I've been playing is Venetian Boat Song by Mendelssohn. Recently I've been trying to think of it as a story, which is easy to do given the title of the song. It has helped a lot, but I was wondering if this is more due to the fact that it allows me to not think about the notes.
But thanks again! I love the suggestions to "tell" it like a story and to envision colors. And I get not wanting to think about anything at all. My best run-throughs often are when I do this and let muscle memory take over, though this method doesn't work quite as well when I'm nervous and trying to play for people. I'll check out the video on preparation as well.-
Annabel Lee I agree that there are times I will think back on memories or moments in my life to help inspire myself to connect deeper to the music that I play! I will say that relying on muscle memory can be great if we are comfortable but unfortunately in front of a large audience that comfort can leave us! Then, we need our mind/brain to help us remember the notes + keep us focused. But the MORE you playing front of large audiences, the more comfortable you will get! Then you can start having the muscles/mind in a union that moves seamlessly. For example in a high stress situation, there are times when my mind is in overdrive making all the decision for my muscles. But when I relax, the mind begins to relax and stop holding the metaphorical "steering wheel" so tightly. Often just getting in front of audiences as much as possible is the best way to get all the senses into harmony!
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What an importantissimo question, truly at the heart of music-making!
Hereās the sad truth Iāve learned from listening to home recordings: my felt emotions of the moment donāt always translate into a musically and emotionally convincing performance. In other words, pouring my feelings into the music might be emotionally satisfying to me but leaves the audience cold.
What I focus on is: āWhich details of dynamics, phrasing, technique, touch, and fingerings do I need to be aware of to create the desired composite sound and thus an emotional impact on the listener?ā
For me, head and heart need to be connected, even if the audience hears only one, big heart.
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Monika Tusnady Excellent points, Monika!
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Monika Tusnady This is SO TRUE. We have to be emotional but also objective. Just because we FEEL something doesn't mean it translates. In the practice room its like the workshop. We figure out the shapes and colors that need to be used to realize the greater picture. On stage we have sharpened our tools, and have all the information to create something special for the audience!
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That sounds good Annabel ! I'm glad you got the idea behind "not thinking about anything" (because that's quite a strange statement) It is actually about trusting that you know the piece well enough to just let it go. Just play. One of my teacher one time said to me "Don't think, just play!" (when I told him what I was thinking about when I mest up) Because many thoughts are more distractions than helpful. But there are helpful thoughts too. Thoughts will arrive as they naturally do, but when we are connected to the piece we get "the right thoughts for the right moments". I think of these thoughts more as sensations that are happening. Anyway, Dominic's advice with storytelling was excellent. I'm glad you're doing that. That is also what we are really doing as pianists! We tell a story! So let's connect to that!
What Monika is saying, I also agree with perfectly - Having a heart/mind connection. We need to stay secure, firm and grounded also. With too much emotion we will tip over and lose track. When I said "being connected to the emotional part of the music" I didn't mean being emotional ourselves. To deliver the content of the music, even with a lot of emotion, we need to stay secure and grounded.
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Sindre Skarelven Excellent to read your comments. You are doing/thinking all the right things!
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Sindre Yes, I definitely get what you mean. It kind of allows you to reach this meditative state. When I am able to do this when practicing, I find myself listening to the music more than playing, and it's easier to improvise and make those spur-of-the-moment decisions about what to bring out in the music.
But I agree that it can also feel like a risk too... I personally find myself slipping into autopilot if I'm not careful (so much so that I wasn't sure it was recommended).
And beautifully said, Monika . Lots to think about
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Very interesting question, Annabel!
