Concertina Therapy

[NoNaYet]

LOL

 

I have played several different instruments, most seriously until now was the violin. I also have pretty strong performance anxiety (stage fright). I used to take the violin with me to work and practice in some public place during lunch to force myself to work on the anxiety. This had some limited success.

 

When I started playing the concertina I did the same thing, which evolved into carrying it in my truck and killing time with it wherever I happened to be. This has worked very well. My largest audience was several hundred marathon training runners while I waited for them to clear the bike trail so I could go for a ride.

 

Well to tell you how this has worked; a little while ago I went to Ace Hardware to get a 3/32 Allen head wrench (I need to take the case on my concertina off, for a minor reed adjustment). I took the instrument along to make sure the wrench fit, and when I opened the case the salesman gave a pretty good "ooooh" and said "I should make you play it." I needed no more invitation, whipped her out and rendered The Wild Colonial Boy.

 

I have come a long way.

 

NNY

[LDT]

LOL

 

I have played several different instruments, most seriously until now was the violin. I also have pretty strong performance anxiety (stage fright). I used to take the violin with me to work and practice in some public place during lunch to force myself to work on the anxiety. This had some limited success.

I get nervous when I have to play and someone is watching...or even outside the door. I worry so much about that I forget to concentrate on the notes.

[Alan Day]

I have suffered this problem from my first time on stage when I suddenly became out of breath whilst singing. The other thing is sweaty hands and runny noses the two things you most fear when playing.There is nothing worse than completely losing your concentration over these stupid things. To look at the Audience whilst playing is great if they have your complete attention, but if they suddenly yawn, have a coughing fit,start talking to their partner or in one case with me pick up a paper and start reading it,this can also make you lose your concentration.

This has got on my nerves for a number of years,I do not play to my potential in front of a watching audience and the hours of practice are completely wasted.I recently decided to crack it,I visited loads of Folk Clubs,I did the same act each time with a few variations,I did not look at the Audience whilst playing.I tried to relax on stage and play a little quieter.I still get nervous, but nothing like I was before and the results are a great improvement.In fact I now have a Folk Club booking which is not scaring me to death like it would have done a few Years ago.

Al

[Robert Booth]

Yes, the concentration part is enormous. There seems to be a zone of focus where allis well, a little bubble, if you will. To get ahead of it or behind it really breaks my sequences. Recovery is not yet easy.

But you remember how to get to Carnegie Hall...

[cnrobinson]

I have never been too bad in public - the odd wrong note here or there doesn't really matter - but put me in front of a microphone..........

 

Chris

[Robert Booth]

Too, I've always felt that I sound better after your third beer

[Anglo-Irishman]

I have never been too bad in public - the odd wrong note here or there doesn't really matter - but put me in front of a microphone..........

 

Chris

 

Recording? No problem! Just delete it and start again. Just delete it and start again. Just delete it and start again... Until you're so pissed off that you couldn't care less - and play it beautifully

 

I think most people's problem is performing live, where you have to get it right first time. I perform live more than I record, so here are a few thoughts:

- Nobody will notice that you didn't play it the way you intended. Unless you bite your lip!

- Not all of the audience will gossip with their neighbours or read newspapers. Some of them are there to hear your brand of music. Identify them, and play exclusively for them.

- This ploy is good for folkies, but even classical guitarist Julian Bream is a master at it: talk to your audience! Not just a mumbled "ThisisanoldEnglishforebitter". Rather a eulogy on the off-watch, when the shantyman would take his concerta and sing nostalgic songs of home and pretty girls. Keep talking until you can see the expectancy in a few pairs of eyes - and play the tune for them!

 

It's sometimes easier if you think of yourself (and present yourself) as a raconteur who plays an instrument, rather than as a virtuoso instrumentalist. (Unless, of course, you are a virtuoso instrumentalist!)

 

Cheers,

John