休息の重要さと本番前の心がけ [雑感]
音楽の基礎は，静寂であると，芥川也寸志は説きました。
絵に白いキャンバスが必要な様に，音楽には無音の静寂が必須だと。
練習においても，がんがん音を出して練習することはもちろん重要ですが，休息や寝かせも重要な気がしています。
スコット・テナントの「パンピング・ナイロン」のあとがきに面白いことが書かれているようです。同書の「立ち読み」でも読めますので，下に引用しておきました。
ごくかいつまんで言えば，本番前に弾きすぎない事です。
氏は，とある経験からその事に気付いた様です。寝過ごして，直前に全く弾けない状態で本番に臨んだ時が最も良いコンサートの一つになったと。本番前に準備しようとすると，非常に細かいことが気になって，不安に駆られて弾きすぎてしまい，疲れるだけで良い結果を生まないと。その事が余程印象的だったのか，本番前に仮眠をとる事も勧めています。
あとは，これからすごく楽しい事をするのだという気持ちの持ち方でしょう。ともすれば，発表会などの本番での演奏を苦役の様に感じていないでしょうか。好きで始めた楽器の演奏なのに，いつの間にやら，義務感や虚無感，絶望感にまで苛まれ，悲愴な状態で臨んでいないでしょうか？（全て私の経験です）。これから，「すごく楽しい事をやるのだ」という，ウキウキした気持ちにまで持っていければ最高でしょう。分かり合える仲間と一緒に好きな曲の練習をやるといった様な，そんな経験は少なからずあると思います。
本番前に弾きまくるという行為は，私もやっていました。本番前の「弾きまくり」では「何とか」弾けていても，一期一会の本番では「まるで」弾けないものです。本番前に弾きまくる行為は，演奏の不安から来ます。過去の経験から，本番ではまるで弾けないものだから，今回は弾ける様にしたいと必死に弾きまくるわけです。しかし冷静に考えれば，今まで何十回も何百回も，人によっては何年も何十年も弾き続けて来た曲を本番前の1時間や2時間弾きまくって改善するわけがありません。ただ疲れるだけです。本番ではネガティブな気持ちと疲れの二重苦で臨むからダメダメ演奏。息があがり普段間違わない所で間違う，暗譜が飛ぶ，弦を空振りする，物凄い力が入っているのに蚊の鳴くような音しか出ない，etc。そして，また次回弾きまくるという悪循環なのだろうと思います。この循環を断ち切る事が必要でしょう（これは私の個人的見解です）。
It happened when I had to give two concerts for the same organization. The first one was in the evening and the second one was the next afternoon. The entire day before the first performance I had absolutely nothing scheduled, and decided I would just take my time and go slowly through the entire program. I thought I was using my time wisely, but as I practiced, I found little things in the music were giving me problems which had not bothered me before. OH NO!!! My mental composure continued on a down-ward slide the rest of the day. By the time I settled in for my pre-concert nap I was a mess! Needless to say, I napped not. At the concert that night, I had several memory' slips, among some other small problems. With my self-confidence shattered, I awaited the next day's recital.
The following day I arose late and had little time for breakfast. Since the concert was out in the country somewhere, my hosts informed me we would leave right away to allow plenty of time. It was just time enough, because we arrived at the venue only ten minutes before the downbeat. I sat up my things on the stage, went back and tuned up, and rushed out on stage and played one of my best concerts ever!
The lesson: not only did I not have time that day to play, warm up, or even think about the concert, I also didn't have time to worry about it. Nowadays I actually play the guitar very little the day of a concert. I’ll just tune up that morning, make sure my strings sound alright, and touch-up my nails if they need it. I try to stay in a normal and "happy’ frame of mind. If I’m not happy, I find a way to make myself happy. I'll read, watch something funny on TV, think of things I like doing, go for a walk, call someone on the phone; or anything else that seems like it will do the trick. I try' to take a short nap (just fifteen to thirty minutes or so) before I leave for the concert. This clears my head. Backstage, just before the concert, I remind myself of a few things:
A Simple Deep Breathing Routine
Inhale deeply and observe how you feel as you you hold your breath. Then, fully and slowly exhale while expelling your nerves out with the breath.
Remember that whenever you play a note on the guitar you have two choices: to improve or go downhill. If you practice without getting anything done, you’ve either not concentrated hard enough or put too many things on the menu for the day. Next time, focus on smaller goals. Allowing your sell to make even a bad tone on the instrument without taking steps to correct it is not acceptable. Any chance you waste to play something well is a step downhill. There is always something on which you can improve, no matter how small, whenever you pick up the instrument. I here is practice and there is playing (going for it). The common thread between the two is the simple discipline we cultivate of striving for that little glimmer of excellence.
These are not emotions you're experiencing alone. They visit everyone now and then. Occasionally we need to give ourselves a break and put down the guitar for a day, a few days, or however long it takes to feel refreshed again. For those who play for a living and don't always have that luxury, some digging back into one's past might be the key. Why did you want to play the guitar in the first place? Try to recall the feelings you experienced when you first decided that you really wanted to play. Perhaps recall the joy you felt when you heard that first recording or concert that thrilled you. What qualities about the instrument first drew you to it?
As I have done for several circumstances in my life, it may make you feel better to jot down a few of these positive thoughts on a piece of paper. Then, when you hit another rough period, you can read through them.
As musicians, our objective is to command the elements of music as best we can in order to tap into that other dimension. It is our access into heaven, if only for a while. But while we are there we can take all who are listening with us. If just one person is uplifted by our playing and walks away feeling better than before he came, we have made a difference. A healing has taken place.
I very much hope that you have found at least one thing in this book that has helped you. I also hope that, as you work to improve your technique, you do not lose sight of the larger goals: to be able to express yourself freely on your instrument and to turn every note you play into great music. When you can do those things, you cease to be just a guitar player and become a healer and magician.
◆
練習においても，がんがん音を出して練習することはもちろん重要ですが，休息や寝かせも重要な気がしています。
スコット・テナントの「パンピング・ナイロン」のあとがきに面白いことが書かれているようです。同書の「立ち読み」でも読めますので，下に引用しておきました。
ごくかいつまんで言えば，本番前に弾きすぎない事です。
氏は，とある経験からその事に気付いた様です。寝過ごして，直前に全く弾けない状態で本番に臨んだ時が最も良いコンサートの一つになったと。本番前に準備しようとすると，非常に細かいことが気になって，不安に駆られて弾きすぎてしまい，疲れるだけで良い結果を生まないと。その事が余程印象的だったのか，本番前に仮眠をとる事も勧めています。
あとは，これからすごく楽しい事をするのだという気持ちの持ち方でしょう。ともすれば，発表会などの本番での演奏を苦役の様に感じていないでしょうか。好きで始めた楽器の演奏なのに，いつの間にやら，義務感や虚無感，絶望感にまで苛まれ，悲愴な状態で臨んでいないでしょうか？（全て私の経験です）。これから，「すごく楽しい事をやるのだ」という，ウキウキした気持ちにまで持っていければ最高でしょう。分かり合える仲間と一緒に好きな曲の練習をやるといった様な，そんな経験は少なからずあると思います。
本番前に弾きまくるという行為は，私もやっていました。本番前の「弾きまくり」では「何とか」弾けていても，一期一会の本番では「まるで」弾けないものです。本番前に弾きまくる行為は，演奏の不安から来ます。過去の経験から，本番ではまるで弾けないものだから，今回は弾ける様にしたいと必死に弾きまくるわけです。しかし冷静に考えれば，今まで何十回も何百回も，人によっては何年も何十年も弾き続けて来た曲を本番前の1時間や2時間弾きまくって改善するわけがありません。ただ疲れるだけです。本番ではネガティブな気持ちと疲れの二重苦で臨むからダメダメ演奏。息があがり普段間違わない所で間違う，暗譜が飛ぶ，弦を空振りする，物凄い力が入っているのに蚊の鳴くような音しか出ない，etc。そして，また次回弾きまくるという悪循環なのだろうと思います。この循環を断ち切る事が必要でしょう（これは私の個人的見解です）。
Pumping Nylon Complete: The Classical Guitarist's Technique Handbook
- 出版社/メーカー: Alfred Pub Co
- 発売日: 2016/07/01
- メディア: ペーパーバック
Afterword
Performance Anxiety
There is no substitute for preparation. Being well prepared for a performance gives us the confidence and the self-assurance we need to "go on with the show." However, no matter how well we prepare in advance, there is always that last-minute anxiety from the feeling that we didn’t do enough. I think we’ve ail felt this at one time or another, and probably practiced and played the instrument all day the day of the concert, only to feel tired, more insecure, and even more nervous than before As a result of a tough situation I found a solution for myself that may work for you, too.It happened when I had to give two concerts for the same organization. The first one was in the evening and the second one was the next afternoon. The entire day before the first performance I had absolutely nothing scheduled, and decided I would just take my time and go slowly through the entire program. I thought I was using my time wisely, but as I practiced, I found little things in the music were giving me problems which had not bothered me before. OH NO!!! My mental composure continued on a down-ward slide the rest of the day. By the time I settled in for my pre-concert nap I was a mess! Needless to say, I napped not. At the concert that night, I had several memory' slips, among some other small problems. With my self-confidence shattered, I awaited the next day's recital.
The following day I arose late and had little time for breakfast. Since the concert was out in the country somewhere, my hosts informed me we would leave right away to allow plenty of time. It was just time enough, because we arrived at the venue only ten minutes before the downbeat. I sat up my things on the stage, went back and tuned up, and rushed out on stage and played one of my best concerts ever!
The lesson: not only did I not have time that day to play, warm up, or even think about the concert, I also didn't have time to worry about it. Nowadays I actually play the guitar very little the day of a concert. I’ll just tune up that morning, make sure my strings sound alright, and touch-up my nails if they need it. I try to stay in a normal and "happy’ frame of mind. If I’m not happy, I find a way to make myself happy. I'll read, watch something funny on TV, think of things I like doing, go for a walk, call someone on the phone; or anything else that seems like it will do the trick. I try' to take a short nap (just fifteen to thirty minutes or so) before I leave for the concert. This clears my head. Backstage, just before the concert, I remind myself of a few things:
1. I think, "This is great! I can’t wait to play!" After all, this is what I've wanted to do all my life.
2. I think of what the program is; or better still, I like to have one in front of me to review while I warm up.
3. I warm up with light exercises only: stretches, short scales, and/or selections from the Daily Warm-Up Routine in this book. I don’t "run through" anything.
4. I let myself feel my nervousness and don’t try to get rid of my nerves anymore, or “freak out " when I am nervous. I just expect to be nervous. As with the airline attendants who endlessly hassle me about taking my guitar on board, I have learned to confront nerves on their terms and with confidence. By feeling my nervousness, I'm accepting the fact that I am nervous; but acknowledge only the physical signs, such as a fast heart rate, sweating, lack of sufficient oxygen or even nausea. I focus on each one individually for a few seconds. Some form of steady deep breathing (see description next page) almost always helps these symptoms subside. I refuse to let them conquer me. Unlike the airline attendants, most of the nerves eventually go away! I convert the remaining nerves into excitement about playing the concert. I think to myself. "No more endless repetitions of these pieces; all I have to do is run everything once and that's it! How easy!’’ I like to remind myself of something my teacher, Pepe Romero, told me when I was fourteen: "No matter what, the sun always comes out the next day and life goes on." Alter all. the troubles didn't matter at all. and somebody most certainly walked out of the concert happier than before!
5. Then, I go out on stage and just go for it. I let my "inner player" play the concert for me; that player we all have inside us which usually emerges when we re playing in front of the TV watching old Star Trek re-runs or the NCAA playoffs!
A Simple Deep Breathing Routine
Inhale deeply and observe how you feel as you you hold your breath. Then, fully and slowly exhale while expelling your nerves out with the breath.
Practice
Always practice with a purport. Practicing without a purpose is like a broken pencil: pointless. I lave a clear idea of what you need to practice. Organize the hierarchy of items you want to improve upon. Some are long-term (such as practicing the Concierto de Aranjuez) and within those long-term goals are smaller goals (such as improving your tone) that can be accomplished in one or two practice sessions.Remember that whenever you play a note on the guitar you have two choices: to improve or go downhill. If you practice without getting anything done, you’ve either not concentrated hard enough or put too many things on the menu for the day. Next time, focus on smaller goals. Allowing your sell to make even a bad tone on the instrument without taking steps to correct it is not acceptable. Any chance you waste to play something well is a step downhill. There is always something on which you can improve, no matter how small, whenever you pick up the instrument. I here is practice and there is playing (going for it). The common thread between the two is the simple discipline we cultivate of striving for that little glimmer of excellence.
Inspiration
Inspiration only lasts a relatively brief time. We all eventually find ourselves experiencing a "dry spell." We get stuck on something in our practicing and can't seem to improve, and sometimes it may seem that were getting worse. At times we may even think of just quitting. Have you ever felt that the joy you once had for playing is gone forever?These are not emotions you're experiencing alone. They visit everyone now and then. Occasionally we need to give ourselves a break and put down the guitar for a day, a few days, or however long it takes to feel refreshed again. For those who play for a living and don't always have that luxury, some digging back into one's past might be the key. Why did you want to play the guitar in the first place? Try to recall the feelings you experienced when you first decided that you really wanted to play. Perhaps recall the joy you felt when you heard that first recording or concert that thrilled you. What qualities about the instrument first drew you to it?
As I have done for several circumstances in my life, it may make you feel better to jot down a few of these positive thoughts on a piece of paper. Then, when you hit another rough period, you can read through them.
In Conclusion
Music is the most powerful of all the arts. It instantly stirs up emotions, conjures visions, and offers glimpses of other, higher dimensions. It arouses men to battle; kindles amorous passions in lovers; soothes a baby to sleep; comforts us when we grieve. It engages our hearts and our minds, and can bring out the best that we are. One can safely presume that not a single emotion, nor any human or natural event, has been left undocumented by music.As musicians, our objective is to command the elements of music as best we can in order to tap into that other dimension. It is our access into heaven, if only for a while. But while we are there we can take all who are listening with us. If just one person is uplifted by our playing and walks away feeling better than before he came, we have made a difference. A healing has taken place.
I very much hope that you have found at least one thing in this book that has helped you. I also hope that, as you work to improve your technique, you do not lose sight of the larger goals: to be able to express yourself freely on your instrument and to turn every note you play into great music. When you can do those things, you cease to be just a guitar player and become a healer and magician.
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