How to Defeat ‘Nerves’

A couple of days ago I received an email from one of my Violin Mastery faithful asking for additional advice on ‘Nerves.’ He had recently played in public and found that, in spite of focusing on breathing and moving the bow horizontally, he just couldn’t get his bow to settle on the string.

The ‘fight or flight’ response was just too strong to control, in that moment.

In the course of responding to him I mentioned that a significant number of musicians take one of a class of drugs known as a ‘beta-blockers.’

Now, my understanding of these substances – I’ve never taken them myself – is that they interfere with the effects of adrenaline. One can still function cognitively and physically at a high level, yet the butterflies and jitters that come with feeling vulnerable in public just don’t materialize.

There are two reasons I haven’t taken them myself. Number one, I’ve heard that they have a tendency to attenuate or dampen ones emotional responses while they are active – not something I want missing from my live performance.

And number two, I have a little concern about possible adverse affects to ones health, though admittedly I may be overly concerned, and they may indeed be relatively benign to the human body.

What I have done, on occasion, and what I have no hesitation in admitting to you here, is have a nip of Tequila before walking on stage to dampen my inhibitions and shore up my resolve.

Matter of fact, I’ve a few good stories to tell on this subject, and if you twist my arm I may share one or two in a future newsletter.

Now don’t get me wrong here. I’m not advocating performing drunk or inebriated, mind – though there are more than a few world-class performers that have sustained a career whilst doing so.

What I believe is that the most powerful tonic one can imbibe for ‘nerves’ is the passion that lies within. The thing is, however, this must be cultivated and nourished, usually for some time.

You see, old habits – or deeply imbedded inhibitions – don’t surrender their grip easily. You can expect a fight.

We must realize that the fears we hold inside arose with our developing ego.

To truly step out of our ‘selves’ and exist totally within a piece of music requires tremendous concentration and yes, technique. Not necessarily violinistic technique – though this is part of it – but rather mind/heart/soul-conditioning technique, something quite different.

By mind/heart/soul I’m talking about those inherent qualities within that transcend ego and allow us access to our ‘super-consciousness’ wherein love, compassion, joy, and true music-making takes place.

The technique I’m referring to is a kind of sensitivity training really. It is a focus on finding positive feeling in the music and in the physical act of playing during each and every practice session.

As I prepare a piece of music I’m conditioning positive feeling responses all the while; to melodic lines, harmonies, expressive marks, physical movements, musical gestures, you name it.

I do this until I can awaken from a deep sleep and recall them in every detail.

Then I get up the next morning and practice them some more.

Bottom line is, the whole thing is about PROCESS. About improving over time at this ability to transmit feelings and intelligences through sound. Perfection is not part of the equation; it’s not welcome at the table.

Now, hopefully some of this makes sense to you. I can say this. I’ve had a pretty good time reflecting and writing on it.

All the best, Clayton Haslop