Nicholas Elliott

1.) Describe how you want to experience your next performance. Imagine walking on stage: How do you want to feel physically? What kinds of thoughts do you want to be having? What emotions do you want to experience? 

            I want to feel as though I will be able to successfully perform every note, phrase and musical idea perfectly. To feel stable and confident in my preparation and practice is where I will be able to enjoy performing for an audience. My senior recital is coming up next in my performance lineup and to feel totally ready to perform in front of any size audience, I need to be as prepared to play every note, phrase and musical idea without a single mistake. Having the confidence to sell a story through music is absolutely crucial to the success of any performance. 

            Generally I don’t want to overthink while performing. I stay as focused as I can on keeping with my performance traits and making sure I don’t get lost within the music. 

            At the end of a performance I generally want to feel relief knowing that the performance is over and I can look forward to the next set of music. During the shows, I generally look for crowd appeal and the visual approval of the audience. Though it’s not necessarily good to look into the crowd to see the reaction while in the middle of a very articulated cadenza, it’s something I’ve gotten comfortable doing and has become more of a communication tool with the audience. 

2.) How would you like to come across to your audience? What image do you want to convey through your stage entrances, exits, and bows? 

            I like to come across to my audience as someone with total confidence that has the right balance of cockiness and humility. Looking like I know my music inside and out without any hesitations or undertones of not having everything prepared is optimal for any performance. The image I intend to convey through stage entrances, exits and bows is total appreciation for the audience sitting through more than an hour of classical trumpet music because even I know that can be difficult. Regardless, I always try to show my appreciation for those who sit through my performances, no matter if it’s in a solo recital, brass quintet, or large ensemble. 

3.) Have you recently videotaped a performance and later watched it with a mentor to discuss your stage presence? If not, when might you be able to do this? 

            I have recently discussed a performance with my Primary Lessons instructor and have noted that my stage presence is reserved in action while also filling the room up with character. The very next time I will be able to sit down with a professor and discuss my stage presence with recorded material will be after my senior recital. This may not benefit me in the long run because I don’t necessarily plan to be a soloist but either way, I do plan to talk with my professor about stage etiquette and presence.

4.) How do you experience performance anxiety? Describe your specific symptoms: 

1. Physical- general shakiness, mostly in the hands. Slightly harder to breathe but then it turns into more of an adrenaline booster. 
2. Thought patterns (self-talk) – “don’t overthink. Who cares if a note is missed, just keep going forward and selling the music.”
3. Feelings – stay calm and keep focused. Generally good vibes and a positive attitude is where I aim to stay mentally because it’s more difficult to play music effectively when there are emotional distractions.

5.) Of the interventions described for handling anxiety in this chapter, which do you plan to work on? 

6.) Have you ever experienced discomfort during or after practice? What have you done as a result of feeling this discomfort? 

            I feel discomfort in almost every practice session because I always push the boundary of what I am capable of doing. To remedy this discomfort I look at the music or the pedagogical understanding of how to tackle whatever the challenge is in a new way so that I can stay in a happier mental state and practice more effectively. In other cases, there are times when I practice for too long and cause short-term pain in my embouchure and the best way to work around that is to simply take a few hours off of the instrument. Like most athletes, ice helps after any workout session to cool the muscles and stop any inflammation that may be occurring. While I don’t condone the use of over medicating, I take some ibuprofen to help blood flow. With an accelerated blood flow, bruises don’t last as long and there is a period where the pain is more tolerable. (Please consult your doctor or physician before use.)

7.) How often do you take breaks during practice sessions? How long are these breaks? What do you do during these breaks? 

            I always take breaks in practice sessions. I don’t have a dedicated length of time because I try to always work until I feel like I should take a mental or physical break. When I do take breaks, they usually don’t last more than five minutes and then I’m right back to it working on the next section. Usually I take a short walk down the hall, get some water, and check for any notifications on my phone. It helps me most to focus on anything else but what I’ve been working on because when I come back I’m always more focused. 

8.) To help ensure a lifetime of healthy music making, what else (beyond taking breaks) can you do to help safeguard your performance health?

            I plan to always approach music in a peaceful, calm manner. The more positive I feel about my artistic choices, the better I perform in any and every aspect. These calm thoughts generally reach out to other performers near me as I offer words of peace and always try to approach a situation with logic before emotion. When sitting in an ensemble or performing as a soloist, it can be very stressful and mood altering in ways that can inhibit a performance no matter how well rehearsed everything is. Choosing to stay in and not drink copiously with friends the night before a big performance or saying no to that XXL Burrito from Taco Bell that you know will keep you cheeks-to-porcelain all next day instead of practicing, are probably better for developing a lifetime of healthy music making.

Emily Pate

Performance Experience Responses

Create a post of your responses to the following to work toward more peak performance experiences.

1. Describe how you want to experience your next performance. Imagine walking on stage: How do you want to feel physically? What kinds of thoughts do you want to be having? What emotions do you want to experience?

I always prefer to be calm and prepared to sing. I keep positive energy in my mind and peaceful emotions. I am not easily rattled and I prefer to keep it this way.

• How would you like to come across to your audience? What image do you want to convey through your stage entrances, exits, and bows?

I like to come across as in control of the stage through my body language and the tone of my slate (introducing myself and my piece.) I want to look like a queen in terms of grace and poise!

• Have you recently videotaped a performance and later watched it with a mentor to discuss your stage presence? If not, when might you be able to do this?

Yes. Each time I sing in voice lab Professor Beasley and I reflect on my growth or areas I can still improve upon.

• How do you experience performance anxiety? Describe your specific symptoms:
  • Physical: I close my eyes and sometimes my mouth quivers.
  • thought patterns (self-talk): “don’t mess up” “Focus on your breath” “Stand taller”
  • feelings: Depending on the song, I am nervous about a specific section. Nine times out of ten I am filling my mind with positive energy.
• Have you ever experienced discomfort during or after practice? What have you done as a result of feeling this discomfort?

I have lost confidence after a practice session, but I don’t ever feel physical discomfort other than fatigue. I typically do a cool down as I finish rehearsing. I also try to rehearse late in the day so I don’t have anymore singing to do.

• How often do you take breaks during practice sessions? How long are these breaks? What do you do during these breaks?

I usually sing two pieces and then take a five minute break. Total, I’ll usually only take two breaks. I’ll drink water and not sing when I’m taking these breaks.

• To help ensure a lifetime of healthy music making, what else (beyond taking breaks) can you do to help safeguard your performance health?

I think that limiting practice hours is the best way to protect the voice. So practicing once a day for an hour instead of two or three times is the best way for me personally. I also limit the amount of alcohol I intake the week or a performance.

1. Describe how you want to experience your next performance. Imagine walking on stage: How do you want to feel physically? What kinds of thoughts do you want to be having? What emotions do you want to experience?

In my next performance, I would like to feel calm and collected yet full of energy and vibrancy. I want to maintain open body language and posture to make the audience feel welcome. I’ve reached a point where I’m much more proficient at absolving the worries of everyday life and consciously choosing to be present in the moment as if it’s the last time I’ll ever play. As for my mindset, I want to be thankful for the opportunity to share my music and feelings through music. I want to remember how far I’ve come and how much there is still to learn but without letting that diminish what I do have to offer in that moment. A balance between confidence in preparation and a healthy dose of humility is important to me as a performer. Emotionally I want to get as close to elation as possible. It’s important to me as a musician and improviser to be able to express and feel a wide variety of emotions on stage whether that be jubilance, grief, frustration, despair, hope, mystery, etc. We all experience these range of emotions as humans and I believe it’s important to acknowledge all of these or as many as possible through our art.

• How would you like to come across to your audience? What image do you want to convey through your stage entrances, exits, and bows?

I would like to convey a sense of gratitude and an energy of importance for what we are about to create on stage. I would like the audience to feel welcome, comfortable, and to see that I’m as human as they are. I never want there to be any disconnect from feeling like they would be unable to approach me and I would never want to give off a feeling of superiority.

• Have you recently videotaped a performance and later watched it with a mentor to discuss your stage presence? If not, when might you be able to do this?

I have not discussed with a mentor about this specifically, but I have reviewed and reflected on my own performances. I could share some recent performances with my instructors and mentors in the very near future which I plan on doing.

• How do you experience performance anxiety? Describe your specific symptoms:
  • Physical- I’m much better about this than in the past but everyone feels a dose of anxiety and adrenaline when performing and occasionally in the past I would feel increased heart rate, sometimes sweaty palms, and minor tremors. However, I rarely experience these now as I’ve performed a great deal.
  • thought patterns (self-talk) Again, I’ve made marked improvement in this category as well and the things I tell myself usually boil down to my individual preparation or how healthy I feel/how much energy I have at the moment. If I start to feel anxious I try to tell myself that this performance is a snapshot of where I’m at in life and music. I usually tell myself that it’s ok to fail and make a mistake because that’s how we learn and get better. Practicing this self talk ironically makes the performance run much smoother because I’m not afraid to take chances and so the music becomes more authentic
  • feelings- If I’m to let anxiety take over, it can make me feel like what I’m offering is not good enough no matter how good it actually is objectively. We are often our own worst critics and this is something I have to keep in mind.

• Of the interventions described for handling anxiety in this chapter, which do you plan to work on? Getting enough sleep, eating healthier, meditate, exercise humor even more, and resist isolation.

• Have you ever experienced discomfort during or after practice? What have you done as a result of feeling this discomfort?

Occassionally yes, sometimes physically and sometimes emotionally. If I’ve sat at the piano for too long, my neck or back might get stiff or I can feel exhausted from playing saxophone. Sometimes tension builds up in my thumb from letting the horn rest there too much. Usually in order to combat this, a break is needed involving some stretches, breathing exercises to alleviate tension in the body, or some light massaging in the area of tension.

• How often do you take breaks during practice sessions? How long are these breaks? What do you do during these breaks?

I just try to listen to my body and mind and exercise patience in practice sessions. I can go for as long or as little as my body and mind will allow at that moment in time. Sometimes it can be several hours with breaks only for bodily functions and sometimes it’s only 20 minutes of conscious intentional practice. During a break I’ll usually try to step away from music, get some water, maybe eat something energizing and find some solitude in order to do some reflecting. Perhaps I’ll attempt to meditate as well.

• To help ensure a lifetime of healthy music making, what else (beyond taking breaks) can you do to help safeguard your performance health? Avoid unnecessary stressors, practice playing with as little tension as possible, cut back on consumption of things like coffee which only raise the level of cortisol in the bloodstream. Above all, remember to be grateful for a life in music and appreciate the beauty of what it is I have the privilege of doing on a daily basis. Connected to that is finding and appreciating the beauty of life itself even outside of music.

1. If I had to imagine how my next performance would go, my number one hope would for myself to be more prepared. I feel like my last few solo piano performances have been unnecessarily stressful as I have not given myself the preparation I need to give a concert without anxiety. I am not the kind of person that gets nervous easily, but I always feel better when I know I can walk on stage and perform music that I know so well I barely have to think about it.
2. I always strive to appear well prepared and confident, no matter what. It is almost impossible to give a perfect performance, so one of the best skills to have as a performer is the ability to improvise your way out of a mistake. If you do everything correctly, most people in the audience will never know the difference.
3. I have done this for other instruments but not for my solo piano performances. I do regularly record my private practice and have found that to be a great tool to critique my practice.
4. I rarely feel performance anxiety. Usually the only time this happens is when I know that I am ill-prepared for a concert. But when I do get nervous for a concert it is usually physical, I feel shaky, tired or nauseous.
5. I liked the idea of making sure you take time to breathe and pace yourself. It’s all too easy to just rush and push yourself quickly through practices and performances.
6. I have pushed myself to the point of pain during practice. I try not to do this and force myself to stop as soon as I feel any discomfort, but unfortunately I sometimes don’t notice this until I’ve given myself a pretty bad cramp or blister.
7. My normal practice routine is 30 minutes on 5 minutes off. I need to give myself frequent breaks or else I find myself returning to practice that is not helpful, ie. Just playing through songs instead of truly practicing. During my breaks, I usually try to get up and stretch and walk around, and maybe listen to some music unrelated to what I am practicing.
8. Making sure I warm up before and after practice is important to me, as I find I strain myself most when I try to just sit down and play the hardest piece I know. I also think mental health can be important to safeguard, as I know that practicing multiple hours a day can quickly lead to frustration and depression if you are not keeping yourself in the right frame of mind.