Practical Steps to Performace Freedom, Part I

Who among us haven't been moved by a great performance? There is something that happens when a performer or group conveys their art so clearly and directly that we are just transfixed 'in the moment', where everything feels very slow and remarkably clear and present.

REMEMBERING LIKE IT WAS YESTERDAY...
I've attended countless performances, some of which have left permanent impressions on me. Here are a few that I remember like they just happened: the late Nubian master Hamsa El Din in a house concert, Brad Mehldau's jazz trio at Zellerbach Auditorium, the Bach Collegium Japan, a solo song by the Brazilian composer Guinga at Yoshi's Jazz house, the premiere of Ligeti's second book of Piano Etudes at Hertz Hall, and the "end-of-an-era" concert by SoVoSo at the Noe Valley Ministry. Each one has uniquely shaped my vision about not only performing, but also composing arranging, and bandleading.

PERFORMING, STRESSFUL?
And yet for most of us performing feels pretty stressful, especially at first. It's not surprising that most people in industrial countries find the specter of public speaking second only to death! And yet, somehow our culture has created the myth that performing is a simple, straightforward way of connecting with the different parts of ourselves and this gift to a receptive audience. This is a worthy goal work but for the vast majority of developing musicians performing at first feels more an Afro -Haitian dance in their chest! Even professional speakers(probably the least outwardly exertive performance art) experience physical changes, elevated pressure.

"PERFORMANCE LOSS"
I recall the first time I spoke to an audience as part of my band's very first performance in 1982. I was so nervous I thought the presenter would have to take me off stage on a stretcher! Now I find myself very comfortable relating to the audience in a relaxed, improvisational style — some have called it "stand-up band leading." This happened after many, performances and coaching sessions with highly skilled trainers.

There has been a parallel development with my playing and singing. I noticed that in the beginning I performed only about a third as well as I did in my best private sessions or group rehearsals. Over time I saw that gap becoming progressively smaller, and I remember joking to friends about my "performance loss" figures improving. (I also noticed that most of my students reported very similar experiences around their performing). I explained to them that a "performance loss" figure was the gap between my best rehearsal and a performance. It was only after many years of experience that my performances began to exceed what I was doing in rehearsals.

BEYOND THE MUSICAL ISSUES 
There is a set of skills just as important (if not more important) as your musical preparation. It involves taking note of every non -musical variable that could (and often does) show up as an energy drain and distraction to your performing. Some common examples are:

• not allowing for travel delays 
• not bringing some important item, like a set list or your music 
• not knowing the stage dimensions or sound system set -up not preparing for unusual lighting on 
• not having key spare parts of equipment in case of breakdowns
• not confirming a recent change of musical arrangement with other band members 

The more responsibility an individual takes on in an ensemble, the greater impact these items will have. And for vocalists, the issue of a thorough sound check cannot be over emphasized.

In Part II of Practical Steps to Performance Freedom: Choosing the Right Venues, "Performance Victory," The Performance Tool Kit, and Scheduling Guidelines. Stay Tuned...