How to Harness Nervous Energy

Had an interesting inquiry yesterday from a subscriber by the name of Gary. Have a look at what he had to say.

Clayton,

‘What do you recommend to calm down a shaky bow arm at the beginning of a concert. I played for some people last night and had some early ‘stage fright’ which caused my bow to shake/bounce, vibrato was a little nervous as well. By the third piece I had calmed down and things were fine, but any suggestions on how to start out? I tried using some controlled breathing to unfocus my mind from the bow, but it didn’t work very well. I also realized that instead of starting with ‘easy’ pieces with lots of piano/pianissimo, I would have benefited by starting with something allowing more bow pressure and broader arm movements and letting me get the tension out at the beginning. What do you think about that strategy for programming?’

Well, Gary, I’m sure 90% of us have experienced ‘shaky-bow syndrome’ at one time or another. There are a few, however, that claim to never experience the ‘fight or flight response’ that’s responsible for this. For me, it depends on the environment and repertoire I’m faced with.

But here are some thoughts.

Your recognition that playing some extroverted, accessible, but not too technically demanding music to begin with is very good. Milstein, and virtually all the great artists, have done this.

But in terms of actually dealing with nervous energy even before you get out on stage consider these three things.

The ‘fight or flight response’ causes a lack of physical control, a loss of mindfulness – or concentration – and a loss of feeling.

I spend my pre-concert time reversing these tendencies.

First, I arrive early to warm up. On the physical side, this means really moving the bow and fingers. I belly-breath while I play scales and arpeggios. I may walk around as I do it. I rest intermittently to stretch a little. I sip water. I play some more, gradually bringing my sound into focus, stretching my fingers, playing now with velocity and now slowly and expressively.

Secondly, I’m visualizing in my head everything I’m doing.

That is to say, I’m NOT playing on autopilot. I’m imaging the sound I want to draw and I’m listening for it. The point is I want to get my mind re-engaged, and focused.

Number three, I want to activate my feelings for the music. The ‘nerves’ will have suppressed them. So after I’m up and running physically and mentally I begin investing feeling in what I’m playing. I will play phrases and passages that get my emotional juices flowing.

Not too much, mind you. You don’t want to leave it all backstage.

As I’ve said in a previous email, I can spend as much as an hour and a half in this process before a particularly big event. Sometimes I will be up and running in 5 minutes. Usually I can gauge ahead of time how long I will need. Perhaps this takes some experience.

Now, there might be a time when you’re caught short. Maybe you’re even required to stand up and play ‘cold’. If this happens, and you find yourself being blanketed over by nervous energy, you say the following to yourself.

‘I recognize, and accept, that this situation is not ideal, but I will nevertheless do ALL I CAN to make this a success.’

Then you do it.

You breathe, your count, and you visualize. You do not allow yourself to focus on minor, or even what you may regard as major errors. You focus on telling a story of the music, on painting pictures, on communicating a gift of love.

Do these, and you will always be a success.

All the best,

Clayton Haslop

P.S. One last thing, Gary. I think I would have used my breathing to focus my mind on the smooth, effortless bow strokes I wanted, rather than using the breathing to ‘unfocus’ on the the bow. In otherwords, focus on what you Want, and move toward it.

P.P.S. And if wonderful playing fundamentals are what YOU want focus on getting your copy of ”Kreutzer for Violin Mastery” today.