” Something weird happened (while performing in a competition after Practice Coaching), I wasn’t nervous! “High School Student, Wyoming
What is it that allows those few people we know who perform so well to do that while most of us work hard and still have problems when we perform? The answer is in how we practice. You are getting good instruction, but the way we learn best in practice is very unusual and very few people know how to do it. Those that know and do it regularly are the ones we call talented and gifted, but anyone can do it. This is also the difference between stage fright anxiety and confident performance. When we have played something perfectly with ease many times in practice the performance becomes easy as well. Expression and enjoyment increase as technical difficulties melt away.
Practice coaching occurs weekly between lessons for 4 or 8 weeks in full support of the teacher’s, or your own, directions. We’ll find out how to best execute them for great lessons, and great progress. It is not open ended. Four to eight sessions are enough for lasting and ongoing improvement.
Sessions last from 50-60 minutes and will provide more than enough material to make every minute of the week’s practice filled with progress.
Your first session is guaranteed. You’ll make much more progress in one session and subsequent days than you ever have before. If not, then just send me an email and your entire payment will be refunded no questions asked. That is how well it works.
Unlike lessons, a few sessions is all you need for a lifetime of improvement.
Practice Coaching is not open ended. The goal of this coaching is to make the coach obsolete and leave the student to guide their own development. This takes a matter of weeks not years.
Even just one session will make a big difference in your performance. You’ll learn to do a few things you’ve never been able to do before (guaranteed), and get some tools you can apply to other challenges. Try this for a tune-up and supercharge for your work.
Four sessions (recommended) will allow for the teaching of these principles over time so that the student can begin to apply them on their own.
SPECIAL DISCOUNT RATE FOR FOUR: $499
Performance Level Development
At any level of development performance is usually a problem. We are really nervous, and don’t enjoy it. We see it as something to get through and hope that by the next time we’ll somehow be a better performer. We won’t because more of the same practice will get more of the same results. We know this when we walk onstage. It is not unreasonable to fear performing poorly when we know it is likely to happen.
The solution is changing the way we practice.[Rich_Web_Tabs id=”2″]
Recital / Competition Development
As motivated and interested students of music we want to prepare the best performance possible. Yet it is the case, for most of us, that we struggle with playing many sections of our music. We are even working of them on the day of our performance! If we are hoping for a breakthrough on the day of the performance, after we’ve been working on something for weeks or months, we will likely be disappointed (and usually are).[Rich_Web_Tabs id=”3″]
Perhaps you are one of the few who have been able to figure out how to practice well. You’ve done weird things like using contextual interference and retrieval practice even if you don’t know the formal names for them. Yet, the final level of virtuosity eludes you. What more is necessary?
Things like understanding neurobiological latency and how to dramatically increase skill by[Rich_Web_Tabs id=”4″]
Stage fright, what is it? What can be done about it?
A vast majority of folks experience such discomfort playing live that it affects their performance, or at least makes performing unpleasant – something to get through rather than enjoy.
Of course, anxiety disorders are a real thing and one should seek diagnosis if a clinical problem is suspected. The National Institute of Mental Health estimates that 10-15% of Americans have a diagnosable anxiety disorder. In my teaching and performing life stage fright anxiety has affected nearly everyone I know including myself, and in many cases only when performing music. I’ve known people who can teach in front of classes but be super nervous when they perform, teach private lessons with ease, but fall apart when playing in lessons with their teacher, speak in front of large groups about subjects they know such as music education or business with ease, but suffer in music performance. As such this would make stage fright a Social Anxiety Disorder with a specifier for music performance only. This is one of numerous kinds of anxiety disorders, so it should show at less than 10-15%. This is far less than the numbers we see for stage fright. What is going on?[Rich_Web_Tabs id=”5″]
I’ve never been able to express myself when I get up on the stage. Now I’m not nervous so I can let the emotion come through and that makes performance really fun.
Mikela R, Violin Student, Pacific University – Oregon
That is going to stick with me forever and it is the reason the “difficult” passages are no longer stressful (once practiced the right way). . .Again, thank you from the bottom of my heart.”
Joe K, Cello Performance Major, Florida State University
(Now) there is the feeling of your technique cooperating with you. . .it feels better, it feels so much musical and expressive. If all of your attention is going to struggling to make it (work) that never feels good, and that’s where a lot of musicians and students live a lot of the time.
It really surprised me how quickly it takes effect.
It was life altering for me. It’s something I’ve been looking for for years.
Nat H, Professional touring guitar and oud player, Teacher, United States
. . .but honestly, if you get the practice right you won’t have the nerves when you’re performing because you’ll have gotten the practice right in the first place.
Mike M, Guitarist and Teacher, United Kingdom