Back to the Big Four: F, C, T, D

Seems I've trod this ground before but it bears repeating.
Here are the big four...
F
Fundamentals

• Do you have a resonant, centered tone in different registers?
• Can you play in tune with yourself and others?
  
• Can you hear the notes in your head before you play them?
  
• Can you keep a steady tempo?
• Can you subdivide correctly within that tempo?
• Can you begin the notes cleanly?
• Can you control all these elements as you play.. high and low? ...loud and soft? ...fast and slow?

C
Concept

• Do you know exactly what the piece should sound like?
• Do you know where you are going to breathe?
• Do you know where to crescendo? ...whether to use vibrato? ...how much accent to use?
• Do you know exactly what slide positions you're going to use?
  
• Have you heard multiple recordings of the piece?
• If a solo, do you know the piano part well?
• If an excerpt, do you know the piece as a whole?
• Do you know the meanings of all the terms?
• Can you close your eyes and hear the precise sound of someone really "nailing it?"

T
Tension

• Are you aware when tension builds in your body?
• Is your posture well-balanced?
• Is your playing a natural extension of relaxed breathing?
• Is your tongue relaxed? Your throat? Your shoulders?

D
Distraction

• Are you so focused on the music that you don't notice what is going on around you?
• Have you quieted any "inner conversations" about your playing, good or bad?
• Are you " in the moment?"
• Do you "disappear into the music" as you play?

I'm sure I missed a few but this seems to be a pretty good list.

Back to ye old performance equation...
P - I = R
Potential minus interference equals result.
Potential = (Fundamentals + Concept)
Interference = (Tension + Distraction)

Hope this checklist helps.

Hearing with Your Eyes

Back in my Air Force Band days, we were reminded to look sharp when on stage. This not only meant keeping our uniforms in order but also meant no slouching or crossing legs while on stage. That's when I first heard it:

"Remember, people hear with their eyes."

At first I took this to mean that our audiences were not always the most cultured group and thus relied on appearances. I haven't stopped thinking about it. There's more to consider here.

I'm a pretty casual person but I can't deny the importance of stage presence. Recently, I adjudicated a student recital by listening to the CD. My voting was more positive than that of other faculty who attended the recital. They saw a number of nervous mannerisms that I couldn't hear on the tape.

It's hard to separate what we see from what we hear. Should we?

When I watch a performer walk on stage, their manner creates an expectation of what I'm going to hear. I'm not sure of the validity of this, but I do believe it's true.

Here's a weird thought. If you adopt the posture and mannerisms of a poised, relaxed, confident performer is there a chance that you'll create a positive expectation for your own performance?

In essence, do you hear your own performance with your eyes?

As an experiment, try playing the same passage twice, first adopting the manner of confident, relaxed virtuoso with every expectation of success. The second time through, adopt the manner of a nervous player with serious self doubts.

I wonder which rendition will be better?

Amnesia and the Invisible Soloist

Last Monday I gave my faculty recital. How did it go?

I think it went pretty well because I can't remember it too well. I've noticed this before. Here's what happens (I think)…

On one end: the composer. On the other end: the audience.

Your job? Disappear.

My favorite compliment isn't, "Gee, you played great." It's, "I really loved that piece."

The amnesia part? If I'm not self-aware while performing, I'm less likely to remember how it went.

The bad moments? I remember them all too well ….