I got asked to play a gig at short notice and due to time constraints only got a chance to play through 1-2 tricky phrases and a few bits in the warm-up rehearsal, everything else was sight reading. On top of that, half of the gig was on euphonium, which hasn’t been out of its case for more than a year.

To put this in context, I’m an experienced amateur and used to be pretty decent at sight reading, getting through Tchaikovsky 5th at very short notice and having played a lot of technical stuff in decent British brass bands back home. I wouldn’t consider myself an excellent sight reader at the moment, I was prioritising other things lately.

I’ve played in the same brass tentet for previous projects with 5-6 rehearsals and the programme was on a similar level as usual.

I’m struggling to explain it but my observation is that I played above average for my ability, it felt like I was really locked in and in total concentration, whereas if I’m playing something I know well, I can get distracted, to the detriment of my playing. I’ve had similar experiences in the past and it feels illogical to say that I’m at my best when I am totally focussed, because I have to be.

This isn’t only a musical phenomenon, I’ve always been that annoying person who comes to life in front of an exam paper or under extreme time pressure at work.

What can I do to really get the best out of my playing, even when I’m far into my comfort zone?

Somehow you need to learn how to have that same concentration whenever you play. At various times I have found that coffee helps, and holding my eyes wide open.

I would say that's a totally normal soft version of "fight or flight" reaction of your nervous system. Good that it's creating a positve outcome and doesn't turn into too much nervousness and trouble.

In the end it is totally normal that under less pressure you function differently. You are less active, less concentrated, allowing other things to distract you. Even if it's not a TV running it's things that happen in your head.

I could myself be 100% better at this, but it might help to set clear practice times and goals. I try to be relatively consistent with not doodling around and practicing those things that really help my playing.

[quote="MrHCinDE"]

I’m struggling to explain it but my observation is that I played above average for my ability, it felt like I was really locked in and in total concentration, whereas if I’m playing something I know well, I can get distracted, to the detriment of my playing. I’ve had similar experiences in the past and it feels illogical to say that I’m at my best when I am totally focussed, because I have to be.

This isn’t only a musical phenomenon, I’ve always been that annoying person who comes to life in front of an exam paper or under extreme time pressure at work.
[/quote]

OMG, I'm exactly the same way. Always have been.

There was a time when the difference in my playing was so stark that I felt like two different players depending on the situation. I've raised my overall level (to the extent I can), by consciously pretending to get "up" for it every time I play, making a point of sitting forward on my seat and pretending that I'm in a high pressure situation. I've found that the things I practice doing and do consistently eventually turn into unconscious habits, so by pretending some boring rehearsal is a big important concert, and doing it every time I play, my unconscious mind has concluded, "Oh, so this is what we do whenever we pick up the horn. Okay."

Pretending every time I play has helped me have that "in the zone" feeling even when I'm bored. It has made paying max attention a habit. Not that I'm perfect at it. I'm not, but I'm much better.

Does pretending sound like a really stupid thing to do? Maybe. LOL! But it has really worked for me. I think visualizing the situation that requires my best effort somehow trains my body to act that way more often.

Hi folks.

Hi Markus .

Being able to perform in every condition is a very important thing , for a player . It ' no so easy to be achieved , in my opinion.

So , as for every topic in the learning process , we have to practice that aspect .

In my opinion , the best way is to periodically SIMULATE , in ours practice routine , this "uncomfortable feel" we had in some live performances .

I can suggest what I have done to achieve that skill :

1) Simulate loss of concentration

After a run of 5/6 hours with your car , once coming back home pick up your horn and play

After a dinner with friends , eating and drinking , once coming back home pick up your horn and play ( if late time , you may need the practice mute)

After some really boring time ( as waiting a couple of hours in a public office ) , once coming back home pick up your horn and play

2)Simulate loss of physical power

Try to play every time you are not in full physical shape , or you have some disease or even pain ( headhache , flu , back pain , etc)

In all these situation , I suggest to practice tunes , song , excerpt , ecc ., instead of technical exercises or foundamental .

Also , I think that , in our regular practice routine , it is really helpful to play , almost every day , something that is a little above our "comfort zone" , trying to get through the piece .

Regards

Giancarlo

[quote="tbdana"]

There was a time when the difference in my playing was so stark that I felt like two different players depending on the situation. I've raised my overall level (to the extent I can), by consciously pretending to get "up" for it every time I play, making a point of sitting forward on my seat and pretending that I'm in a high pressure situation. I've found that the things I practice doing and do consistently eventually turn into unconscious habits, so by pretending some boring rehearsal is a big important concert, and doing it every time I play, my unconscious mind has concluded, "Oh, so this is what we do whenever we pick up the horn. Okay."

Does pretending sound like a really stupid thing to do? Maybe. LOL! But it has really worked for me. I think visualizing the situation that requires my best effort somehow trains my body to act that way more often.[/quote]

As MStarke said, it indeed seems to be a “Fight or Flight” response in my opinion. That’s been a core component of life in my current profession for the last 16 years.

tbdana, you have hit one of the best defenses against that response. It’s been called “preparing for the what if’s.”

It seems to be used more often than not in physical confrontations but it is very applicable in a large amount of other high stress situations. By pretending to put yourself in high stress situations, you allow your mind to prepare for them and actively adjust to fight the urge for flight, or in some cases, a third element of the response, which is to freeze. Pushing yourself to think of these things allows you to create a plan of action to mitigate the flight or freeze response to eventually bring it down to a minimal amount of time between your initial response and your action.

Visualizing or pretending is a very important factor in creating that muscle memory as it allows you to practice for these situations. There are a lot of great resources out there that talk about “fight, flight, freeze or posturing.” These tactics may help in dealing with the stressful situations you are faced with.

For the OP, it seems your stress response is in the correct place. I guess maybe the only immediate suggestion I could have is to work on pushing yourself outside of that comfort zone for further perpetration.

[quote="GGJazz"]Hi folks.

Hi Markus .

Being able to perform in every condition is a very important thing , for a player . It ' no so easy to be achieved , in my opinion.

So , as for every topic in the learning process , we have to practice that aspect .

In my opinion , the best way is to periodically SIMULATE , in ours practice routine , this "uncomfortable feel" we had in some live performances...[/quote]

I like all these ideas that you summarized. I have heard of a guy who won a major bass trombone position in Germany that he practiced running stairs before playing audition repertoire to get into that feel of stress, uncontrolled breathing etc.

One thing that I - not playing music for the money primarily - realized: I simply do not need to take a gig. But when I do, I take it seriously and play it best I can. And prepare accordingly as needed. That's a mindset that really helped me.

Thanks for sharing your insights, I’ll definitely figure out a way to “get myself up for it” as part of routine home practice and rehearsals.

I might have to ask the 2nd trombonist to slap me around the face during the warm up, a bit like those Olympic powerlifters do.

Joking aside, I really like Dana’s suggestion about sitting on the edge of my seat. My old euphonium teach made me do this in every lesson and I always thought it was due to posture but perhaps he was also thinking of other factors?

[quote="MrHCinDE"]

I’m struggling to explain it but my observation is that I played above average for my ability, it felt like I was really locked in and in total concentration, whereas if I’m playing something I know well, I can get distracted, to the detriment of my playing.[/quote]

If you play better when you're not well prepared, because that forces you to concentrate, does that suggest a strategy? Kidding of course, but you have to experience that level of concentration enough times to learn to produce it at will somehow.

I lead a handbell group and it is not unusual for them to play superbly in the last rehearsal, then badly in performance. It's partly nerves I suppose, but maybe also knowing it too well?