My hope here is that we can share professional tips on how to get past stage fright, first night jitters, and all the other performance anxiety challenges we face as performers.

I learned from actors, actually. Many actors go into character about an hour before performance time, and stay in character until the performance is finished. I learned to believe I wasn't my normal, everyday self on a stage, but a person called a "performer"--in others words, I adapted myself to being a performer "character" if that makes any sense.

This helped me to overcome stage fright, which I once suffered from badly. I learned to focus by learning self-hypnosis techniques, and acting techniques. And I've never had a problem since, even for the "big gigs" I get every now and then.

Anyone else willing to share their secrets to overcoming performance anxiety?

Speaking of drying out the voice, have you any tips sophocleese, for the one thing that dries my voice out more than anything on stage, and that is smoking in the audience? I have yet to find anything terribly effective in that regard.

As for psychological prep - in the group we talk for 10 minutes before we go on about the good performances we've had and the one that we are about to deliver, remind ourselves that the audience is there to have a good time with us rather than be critical.

The other thing that helps me is if I speak to some og the audience before we get on stage. I've then got some "pals" in the hall.

I pray before playing. Sometimes the prayer is long and organized and deliberate, sometimes it's a mental glance heavenward turning it all over to Him. Sometimes it's a conversation-- "Well, Lord, You asked me to do this, so I hope YOU know the chord changes! "Yes, I did, and I will keep you out of trouble."

The result is that since I am not worrying so much, I can pay attention to the people, and I think that's what matters more than the perfection of any single tune.

~Susan

I also do the "don't eat right before a gig" thing, but that's mostly because, when I eat, I EAT! and it's tough to sing with that much food in ya... LOL!!!!

My vocal warmup routine varies between just singing along with Archie Fisher in the car on the way to a gig, to full blown theatre warm up techniques over the course of the day, depending on how much I've overdone it of late...

Oh ya... another wee trick... I often ghost into my gigs by the skin of my teeth... Set up fast, grab a cup of Java,and a bottle fo water and go... What I've started doing this winter, just before starting, is washing my hands... nice HOT water... I donno... maybe it's a psych. thing... maybe it's just limbering up the fingers... Feels good, so I'm gonna keep doin' it...

;-)

That's body, voice and mind.... make sure you are comfortably cool, as it will get hot out there. Have a jersy or jacket backstage to slip into when you come off. Warm up with finger excercises or strumming and picking. Warm up the throat gently, drink plenty of water and if you dry out quickly try a glass of milk or a dairy produce snack a while beforehand - it produces mucus which acts like KY jelly but tastes a whole lot nicer (so I'm told.....). Warm up your mind with rehearsing those cues and triggers. I always use my song sheets, because I have a crap memory, but most of the time they are only there as a security blanket or a cue sheet. I've sung entire songs with my eyes closed, the book open in front of me and watching the page in my head. And as Mrs Duck will vouch, if I can remember the whole song, I turn to a blank page!

Try not to do anything whilst upset, bursting into tears in a set is not professional and if you are like me, you end up all red and blotchy. It tightens the throat and you end up worse than ever.

Good luck!

LTS

I try to make sure to practice, including the day of, so I know things inside and out. I used to use written sheets as a "security blanket" as mentioned above, but I've quit that, because I found that more often than not the paper would draw my eye away, and, its presence suggesting I need such a thing, I found it actually a distraction. So now the only time is if I'm accompanying someone, and I can just focus on the paper.

Before I step up< if I feel the jitters, I tend to do just a zen kind of thing; I imagine something totally unrelated to the moment, something beautiful (horses on a beach seems to work for me; follow their movement, their rythm...), and trust I've done my job and everything will be fine. I had a friend once say that what makes us nervous is our perception of the audience as hostile in some way. But in fact, they're on your side and want you to succeed. (Think how uncomfortable you become when you're watching someone bomb.) And hey, if there is the odd person out there who wants you to fail, what the hell do you care? HE/She must be an asshole anyway, right?

SB

Don

SpellingCop

Much the same as beer tending to numb and relax you, letting you hit a wider range while robbing you of control and the ability to tell when you're hurting yourself.

M

Also, lactose intolerance can make you want to pee every ten minutes too, so that's another good reason for avoiding dairy before a performance if affected! :-)
Julie B

As to drinking to "prepare"--I began the thread in hopes of discussing alternatives to using chemicals and alcohol to prepare and perform.

I too would avoid the dairy for 24 hours.

As to drinking water & the pee factor (one I too sympathize with!), it is possible to hydrate your vocal cords by drinking a lot of water in the two days before performing, and early on the day of. I start to cut down on the amount of water I drink about four hours before performance time, and use about one 8 oz cup of herbal tea with honey, which I find works great in combination with vocal warm ups.

Great thread--keep those "works for me" tips coming!

Some performance situations, like a concert, can be tightly structured, because the environment can be closely controlled, but some others are more informal, such as a picnic, an you have to roll a lot more with the punches--

Again, this comes from performing in stage plays, but similarly applies elsewhere. I think it's good to have a pre-show warm-up routine, whatever that routine may be, as a kind of "comfort blanket", as long as it doesn't turn into a ritual that makes you superstitious if for some reason you can't do it all on occasions.

The best voice routine I've been taught, which you can do in the car on the way, is to go through the consonants from B to Z, including double consonants such as Br, Dr, Tr, Thr, Pr, Cl, Shl, Gl, Pl, St, in turn in front of the vowels: ah ay ee ay ah aw oo aw

i.e. "bah bay bee bay bah baw boo baw" and so on, faster and faster.

If, for any reason, I can't do that, so as not to get superstitious about it, a quick, intensive vocal workout is to say the name "Peggy Babcock" over and over, faster and faster. Not as easy as it looks ! When that becomes a piece of cake, move on to "Peggy Babcock, Babcock Peggy."

Guaranteed to give vocal confidence !

Having the material down cold may (for some) feel like it drains the spontanaiety (how the heck do you spell that anyway? Where's my dictionary?) from your performance, but if you perform happy, it sounds happy. And knowing the material so well that you don't have to stress over it will go a long way to keeping you happy.

M

" Coping with Music Performance Anxiety "

Music performance anxiety is caused both by the ways we think and feel. This handout will give you new ways to try to optimize your level of anxiety.

One way to feel less anxious is to discover and change thinking patterns that put too much pressure on you. Look at the list of cognitive distortions below and pick one or two that you use often, then brainstorm realistic alternative thoughts that you could use instead.

Definition of Cognitive Distortions Cognitive distortions are logical, but they are not rational. They can create real difficulty with your thinking. See if you are doing any of the ten common distortions that people use. Rate yourself from one to ten with one being low and ten being high. Ask yourself if you can stop using the distortions and think in a different way.

ALL-OR-NOTHING THINKING: You see things in black-and-white categories. If your performance falls short of perfect, you see your self as a total failure. OVERGENERALIZATION: You see a single negative event as a never-ending pattern of defeat. MENTAL FILTER: You pick out a single negative detail and dwell on it exclusively so that your vision of all reality becomes darkened, like the drop of ink that discolors the entire beaker of water. DISQUALIFYING THE POSITIVE: You reject positive experiences by insisting they "don't count" for some reason or other. In this way you can maintain a negative belief that is contradicted by your everyday experiences. JUMPING TO CONCLUSIONS: You make a negative interpretation even though there are no definite facts that convincingly support your conclusion.MIND READING: You arbitrarily conclude that someone is reacting negatively to you, and you don't bother to check this out THE FORTUNETELLER ERROR: you can anticipate that things will turn out badly, and you feel convinced that your prediction is an already-established fact. MAGNIFICATION (CATASTROPHIZING) OR MINIMIZATION: You exaggerate the important things (such as your goof-up or someone else's achievement), or you inappropriately shrink things until they appear tiny (your own desirable qualities or other fellow's imperfections). This is also called the binocular trick." EMOTIONAL REASONING: You assume that your negative emotions necessarily reflect the way things really are: "I feel it, therefore it must be true." SHOULD STATEMENTS: You try to motivate yourself with should and shouldn't, as if you had to be whipped and punished before you could be expected to do anything. "Musts" and "oughts" are also offenders. The emotional consequences are guilt. When you direct should statements toward others, you feel anger, frustration, and resentment. LABELING AND MISLABELING: This is an extreme form of overgeneralization. Instead of describing your error, you attach a negative label to yourself. "I'm a loser." When someone else's behavior rubs you the wrong way, you attach a negative label to him" "He's a Goddamn louse." Mislabeling involves describing an event with language that is highly colored and emotionally loaded. PERSONALIZATION: You see your self as the cause of some negative external event, which in fact you were not primarily responsible for.

Sixteen Prescriptions for Overcoming Performance Anxiety (Adapted from PERFORMANCE ANXIETY by M. Robin)

De-stress yourself, don't distress yourself. Rehearse a skill, not a symptom. Don't confuse anxiety with effort. Don't self-medicate. Concretize don't awfulize. De-sacredize, don't idolize. Tolerate, don't musturbate. Use "why not?" not "why me?" Act "as if" Be a participator, not a self-spectator. Be process-oriented, not product-oriented. Stay in the moment. Rate your behavior not your soul. Accept yourself, warts and all. If you must compare, compare downward as well as upward. Give yourself permission to be.

Four (4) Steps for Managing Performance Anxiety Step 1: Self-Assessment: Getting to Know Yourself Better, as a person & musician.

Identify problematic thinking. What are your personal motives for performing? What are your capabilities and limitations as a performer? Ask yourself: "What am I really afraid of?" Worst-case scenario—you run off the stage and everyone laughs hysterically. That's unlikely, and might give you perspective into the realities of what it is you are really afraid of. Try not to confuse self-assessment with self-criticism!

Step 2: Gradual Exposure and Preparation

Look for opportunities for exposure to mild to moderate levels of stress that challenge but do not overwhelm your coping skills, example: visualization of the performance. Other Examples: practice performances, dress rehearsals, taping yourself and playing back. Be thoroughly prepared. Nothing replaces adequate time spent in rehearsal and practice. Consider how the use of relaxation techniques can help to "harmonize" the body. Meditation, yoga, and/or muscle relaxation can help the body and mind feel uplifted and balanced so you feel excited and prepared, but not overwhelmed. Using these techniques can help you avoid self-medicating with drugs & alcohol.

Step 3: During the Performance

Rather than blocking out the audience, or seeing them in their underwear, try seeing them as allies who are generally supportive and want you to do well. Remember, most performers have to contend with anxiety—it comes with the territory. You're in good company! Feelings of anxiety are natural, and can be used to your advantage. Maintain your normal routine when preparing a performance. Act calmly, even if you feel nervous. The more you dwell on anxiety, the more you are likely to remain preoccupied with it. Try to overlook minor errors when you perform. Overall impressions are more important to the audience than note-perfect performances. Consider performing as an opportunity by becoming immersed in the musical experience. For example: Get out of yourself and into the audience. Try switching off the left brain's critical words and switching on the right brain's passive observation. This may help you escape self-criticism and stay in the moment. Enjoy what you've accomplished. Others are more likely to enjoy it this way, too.

Step 4: After the Performance

Temper such external feedback with internal beliefs and expectations you have already established. Asking others afterwards, "how did I do" without asking yourself first might be depriving yourself of a significant source of valid information about your performance: YOU.

Performance Anxiety Resources Books Available in UWEC Library Notes from the Green Room: Coping with Stress and Anxiety in Musical Performance by P. G. Salmon & R. G. Meyer Performance Anxiety: Overcoming Your Fear in the Workplace, Social Situations, Interpersonal Communications, and the Performing Arts by Robin W. Mitchell Controlling Stagefright: Presenting Yourself to Audiences from One to One Thousand by Peter Desberg Audition Process: Anxiety Management and Coping Strategies by S. E. Dunkel Stagefright: Its Causes and Cures, with Special Reference to Violin Playing by Kato Havas Websites Enjoy Words and Music—Overcome fear of speaking or performance anxiety. http://enjoywordsandmusic.com Coping with Performance Anxiety http://www.engr.unl.edu/eeshop/anxiety.html Performance Anxiety http://www.hsuyun.org/Dharma/zbohy/literature/essays/chs/anxiety.html Videotape But I Played It Perfectly in the Practice Room! Campus Resource Counseling Services: Old Library Rm. 2122, Phone 836-5521 Variety of self-help materials related to anxiety and stress. Individual counseling by appointment.

If you would like to talk with a counselor about your music performance anxiety, please call to make an appointment at the UWEC Counseling Service 836-5521

Prepared by Robin Abraham, M.A. and Katherine Schneider, Ph.D. May 2001

BETA BLOCKERS AND PERFORMANCE ANXIETY IN MUSICIANS

A Report by the beta blocker study committee of FLUTE: Karla Harby, freelance writer and amateur flutist Kathrin Kucharski, clinical pharmacist and amateur flutist Sarah Tuck (committee chair), professional flutist Julia Vasquez, professional flutist

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Beta blockers have been called "the musicians underground drug." Often musicians form their opinions, and may risk their health, based on locker-room-type information.

Performance anxiety can be a deeply personal subject for musicians, and many are reluctant to discuss all the possible remedies. It is our intention to bring this subject into the open, and to provide accurate information to inform personal opinions and decisions.

1. What are beta blockers (such as Inderal)? Beta blockers block the receptors for the physical effects of a person's natural fight or flight response. They are not sedatives, and they can't help anxiety of a purely psychological nature.

Beta receptors are found in a number of places in the body: heart, lung, arteries, brain and uterus, to name a few. Like a key in a lock, beta blockers chemically fit into beta receptors and prevent norepinephrine from binding to the receptors that cause the symptoms of the fight-or-flight response.

The degree of these effects depends on the dose and the individual's sensitivity to the medication. Peak effect occurs in one to one and a half hours. Ideally, this could allow a performer to play at his or her best, without the distraction or interference of excessive fight or flight symptoms.

Blocking beta receptors can cause decreased heart rate; decreased force of heart contractions; bronchoconstriction (can cause asthma attacks in people with asthma); uterine contractions; decreased blood pressure; relief of migraines; and decreased tremor.

The beta receptors found in the different areas of the body are not all the same, thus different beta blockers may affect these areas differently. For instance, metoprolol (Lopressor) and atenolol (Tenormin) are beta-1 selective, which means they block only beta-1 receptors found primarily in the heart, but not the beta-2 receptors found in the lung and uterus. Thus, they can decrease blood pressure, heart rate and force of cardiac contraction, but are less likely to cause bronchoconstriction and uterine contractions. This selectivity is not absolute and depends on the dose.

Some beta blockers enter the brain better than others. Propranolol (Inderal) crosses the blood-brain barrier particularly well. This may be why propranolol causes more central nervous system side effects, such as hallucinations, nightmares, and depression, than the beta blockers that do not cross into the brain as easily.

Interestingly, the ability of beta blockers to help anxiety seems related only to their blockade of beta receptors outside of the brain. Beta blockers will not help the emotional symptoms of stage fright (for example, sleep problems or negative inner voices).

Everyone's body responds differently to beta blockers. For this reason it is important that each person experiment, under medical supervision, to find the ideal dosage for a performance situation. Similarly, it is important to take the beta blocker a few times and under different circumstances before a major performance to be sure the individual has no adverse reactions.

2. Do I need to see a doctor before taking them? Everyone, without exception, must obtain their beta blockers from a physician. It is a violation of federal law in the United States, and many other countries, to give prescription medications to someone other than the person for whom they were prescribed.

Beta blockers are prescription medications for good reason. There are several conditions, such as slow heart rate, bronchial asthma, and heart failure, which can cause serious medical problems, even death, when taking this medication.

In addition, you should know that some psychiatrists and psychologists feel that beta blockers ought only to be used in the context of psychological intervention, and only as a temporary measure.

3. What kinds of problems are beta blockers good for? One reference lists 29 different uses, including high blood pressure, angina, irregular heart rhythms, migraines, prevention of a second heart attack, tremors, alcohol withdrawal, anxiety and glaucoma.

In the United States, a physician can prescribe medications for uses not approved by the Food and Drug Administration, so long as there is scientific literature to support the use. Usually the pharmaceutical company involved will only research and develop a few uses to submit to the FDA to get the medication approved for marketing.

Once the medication wins FDA approval, the pharmaceutical company is only allowed to advertise it for FDA-approved uses. Over time, however, researchers and physicians gain experience using the medication for uses not approved by the FDA.

Beta blockers are not FDA approved for use in anxiety or stage fright, but these medications can be prescribed for this purpose because there is scientific literature to support this use.

4. Are beta blockers safe? Only your physician can tell you whether beta blockers are safe for you.

Beta blockers can significantly worsen some medical conditions. As a general rule, beta blockers should not be used in asthmatic people. Beta blockers can worsen congestive heart failure, Raynaud's syndrome, and diabetes.

Musicians who take beta blockers often do so in small doses and only on special occasions, so they may experience no side effects at all from their use. However, many side effects have been reported from these medications, including rash, anaphylactic shock (sudden unconsciousness or death), slowed heart rate, low blood pressure, cold extremities, worsening of heart failure, fainting, rapid heart beats, dizziness, fatigue, headache, depression, sleep disturbances, nightmares, hallucinations, short term memory loss, high or low blood sugar, stomach ache, flatulence, constipation, nausea, diarrhea, dry mouth, vomiting, heartburn, bloating, impotence or decreased libido, difficulty urinating, bronchospasm, cough, wheezes, naal stuffiness, joint pain, and muscle cramps.

5. Do beta blockers cause addiction? Beta blockers do not cause addiction -- which means physical and psychological dependence on a substance that is beyond the user's control. But beta blockers, when used on a regular basis, can cause physical dependence.

Physical dependence is when the body becomes accustomed to having a medication in the body, thus over time, more medication is required to achieve the same effect. It also means that if the medication is suddenly stopped, the person can experience a rebound in the symptom the medication was being used to treat.

Not all medications cause physical dependence. To develop physical dependence, the medication must be used on a chronic basis.

In the case of beta blockers, physical dependence is not usually an issue when they are used for stage fright, as they are used in low doses and are not taken on a chronic basis. When beta blockers are taken on a chronic basis, as for high blood pressure, suddenly stopping them can cause a severe, dangerous elevation in blood pressure that could lead to a stroke or heart attack.

Addiction causes the person who drinks alcohol, abuses a medication, or takes an illegal substance to exhibit substance-seeking behavior, perhaps even committing criminal acts to obtain it.

What makes this issue confusing is that alcohol, narcotics, cocaine, and amphetamines can cause both physical dependence and addiction, and usually both must be treated at the same time. Beta blockers do cause physical dependence when used on a chronic basis, but it would be highly unusual for them to cause addiction.

6. Will beta blockers help my performance? The answer varies greatly among individuals. Obviously, if you have a medical condition that makes beta blockers dangerous for you, they will not help.

Beta blockers don't make you play better by themselves; they just relieve physical problems resulting from the fight or flight response. On the other hand, some musicians feel that adrenalin helps their performing, giving them an edge that adds intensity to the performance.

Beta blockers have not been shown to directly improve a musician's emotional state, except to the extent that some musicians feel better when their physical problems are relieved. If your performance anxiety shows itself mainly in psychological ways (e.g. negative inner voices), beta blockers will not help you.

The scientific studies and articles we looked at clearly show that beta blockers significantly reduce symptoms that can hinder some people's playing. The musicians in the studies said they felt better about their performance after taking beta blockers, and music critics consistently judged their performances to be better.

Be aware, however, that one article raised the concern of whether beta blockers help only technical aspects of performance, but may in fact diminish emotional elements.

A note about dry mouth: Anecdotal reports show that some musicians who've tried beta blockers say they don't help dry mouth, or can even make it worse. In our research, however, we found a study that conclusively showed beta blockers to help dry mouth among brass players.

7. How many musicians use beta blockers? A study reported in 1986 of 2,122 musicians in major U.S. symphony orchestras showed that 27% reported taking beta blockers. Of that 27%, 19% took them daily under a doctors prescription for heart conditions, etc., 11% had a prescription for occasional use (concerts, auditions, etc.) and the remaining 70% reported occasional use, but without a doctors prescription. (Again, these percentages are of the 27% who reported taking beta blockers, not of the whole population.)

When the musicians who took beta blockers for medical reasons are factored out, slightly under 22% of musicians in this study reported using beta blockers occasionally, with or without a prescription.

Among those who reported occasional use, with or without a prescription, the events they said they used them for were: Auditions, 72% ; solo recitals, 52%; difficult orchestral performances, 50%; concerto performances, 42%; before every performance, 4%.

In our highly unscientific survey based on the FLUTE Internet mailing list, there were 103 respondents total. Of these, 24 (23%) said they use or used beta blockers, 79 (77%) said they didn't.

Of those who called themselves professional performers and/or teachers, 52% said they used beta blockers, 48% said they didn't. Of those who called themselves students, amateurs or non-professional teachers, 2% said they used beta blockers, 98% said they didn't.

8. How does the music community view the use of beta blockers for performance anxiety? As you might expect, opinions vary widely. Here are what a few well-known musicians have said on the subject:

Trevor Wye, flutist and teacher: After saying that beta blockers "should seriously be considered for important occasions," he writes: "Readers who may have some misgivings about the use of alcohol or drugs may care to reflect on the effect of nerves and strain on the body which can cause a great deal of damage over a period of time." From "A Trevor Wye Practice Book for the Flute, Volume 3: Articulation," (Novello & Co. Ltd., Borough Green, U.K., 1983).

Geoffrey Gilbert, flutist and teacher, as quoted by biographer Angeleita S. Floyd: "[Gilbert] did not advocate the use of [beta-blocker] drugs or alcohol for controlling nerves in performance....Gilbert's reasoning stemmed from the fact that although they may work, one can easily become addicted." From "The Gilbert Legacy" by Angeleita S. Floyd (Winzer Press, Cedar Falls, Iowa, 1990).

Mary Stolper, flutist and teacher, tours with Chicago Symphony Orchestra: "I have never taken [beta blockers] and my one brother has never taken them. But my other brother swears by them. I think it's a very personal choice. "I don't give them to my students. If they come and we talk about it, I'm not going to stop them from taking them. I probably would encourage them to take them if they're curious about it; go ahead, take them and see. But don't take them for the first time on your first audition! "Taking the audition is so difficult, the odds are so against you to begin with, if that little thing makes you think you've got an edge, why not?....But I don't think it's ever been proven that they help." From a taped interview with K. Harby, January 1997.

Stuart Edward Dunkel, oboist and composer: "The use of drugs in controlling symptoms of fear felt at an audition should be thought out carefully. The underground musician's drug, Inderal, is in widespread use today. However, one should use caution by understanding the side effects of a given drug and by realizing that an addiction to drugs may occur and that this may therefore not be the ideal approach to the problem of stage fright." From "The Audition Process: Anxiety Management and Coping Strategies," Juilliard Performance Guides No. 3 (Pendragon Press, Stuyvesant, New York), 1989.

9. What other approaches are helpful for dealing with performance anxiety? Because the fight or flight response occurs only when we perceive danger, it can be avoided or minimized if we can convince ourselves there is nothing to fear. This is the goal of many non-medication approaches. The physical sensations of fear can also be managed in specific, non-medication ways.

There are many books and articles that may help you understand your stage fright and manage it. Some of the following are, unfortunately, out of print. If you are unable to find any book in your local library, ask your librarian, who may be able to obtain it from another library.

* "The Audition Process: Anxiety Management and Coping Strategies," by Stuart Edward Dunkel (Juilliard Performance Guides No. 3, Pendragon Press,Stuyvesant, New York, 1989).

* "A Soprano on Her Head: Right-side-up Reflections on Life and Other Performances," by Eloise Ristad (Real People Press, Moab, Utah, 1982).

* "Making Music for the Joy of It: Enhancing Creativity, Skills and Musical Confidence," by Stephanie Judy (Jeremy P. Tarcher, Inc., Los Angeles,1990).

* "The Inner Game of Music," by Barry Green with W. Timothy Gallwey(Doubleday, New York, 1986).

* "Anxiety and Musical Performance: On Playing the Piano From Memory," by Dale Reubart (Da Capo Press, New York, 1985).

You can also try eating dairy products and turkey, which are rich in substances that are known to enhance relaxation. Some flutists recommend bananas. Nicotine and caffeine can contribute to shakiness and anxiety in some people.

Biofeedback, yoga, relaxation techniques, and cardiovascular fitness are recommended in the books listed above. Classes and seminars exist in most communities that can help you with any of these activities.

Cognitive therapy, the area of psychotherapy that holds that your understanding of a situation can change your emotional response to it, is often sought by people with stage fright. Hypnosis may also used. If you decide to seek a therapist, try to find one who is experienced in treating anxiety disorders, and especially one who has experience treating performers.

http://www.music-injury.com/html/healthmaintenance.html

OK, now I'm done!

There have also been many wonderful tips and suggestions here that has certainly made the thread worthwhile to me.

Nowadays, any professional musician who cares for their instruments better than they do their body (their first instrument) isn't very serious about performing. I can't imagine why anyone would get involved in the music if they aren't willing to work at the craft and just show up.

If all you do is just show up to perform with no prep, your performance will definitely look like it.

Well, the stage fright will always be with some people. Some people that have performed a number of years will feel comfortable on the stage. And some people like myself will always will be very nervous. But when you get on the stage, I find myself in a "zone", where you are with your guitar, a mic, and you are in the spotlight, and all you want to do is song your heart out. And after those songs you play, the audience response is well worth the time to play.

So practice your songs, be confident in what you are playing, and have a great time. After years of experience you will love playing music in public. For me it took me 18 years to start playing in public, and I love it. And it was actually the Mudcatters on this site help me out on performing.

Anyway, got to go

Steven G.

If you play an instrument and don't want to lose your edge by over-practicing, do some touch-typing practice because it excercises the same brain centres that you use when playing, without being musical.

If you get the jitters as soon as you step on the stage, do an unaccompanied song to get the audience on your side before trying to accompany yourself.

On the other hand, there's nothing like the feeling you get from doing that risky under-rehearsed song first up and getting away with it!