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We've all been there!


Performing comes naturally to us pianists and other musicians, and sure we can play to the best of our ability to ourselves.


And we can play fantastically well when it comes to performing in front of others too (providing that we have practiced).


But then - the red light. The record button is activated, and what happens?


We go to pot!


This has been happening to me a bit this week, so I've been doing a little investigating to check where the problems may be and why they might be occurring.



Can You Actually Play the Music?



This sounds like a no brainer, but it's actually something that is true. When we perform music - whether it be to an audience or for a take - we should already have a strong enough grasp that when something in the form of obligation presses (e.g. getting a good recorded take) that we don't buckle to pressure. Our brains know what they're doing, muscle memory kicks in and overall we are confident.


But ask yourself this - would you be confident performing this piece of music to an audience?


One of the biggest reasons why we feel extra pressure performing for a recording against a live audience is that the whole take needs to be good as, if it isn't, it will be there, captured forever. A mistake in front of a live audience is forgotten in minutes - often seconds. In fact, many of them go unnoticed! Therefore, we tend to feel a little less pressure when playing for an audience.


Theoretically, this leads to an easier job performing for the audience, but quite often what our subconsciouses do is tell us that because we have the ability to take and take and take with a recording, we can just keep doing it until it is right. Therefore, if it's not quite up to scratch for a performance anyway it doesn't matter - just do it until it is right!


Not necessarily the correct approach, though.


If you wouldn't feel comfortable playing a piece of music for an audience, you probably won't do a very good job of it when you come to recording it. Certainly not the best of your standard, or at your fullest potential. Or, at the very least, without several hours of takes which is a whole other frustration in itself.



Are You Being Needlessly Picky?



Of course we want to give a perfect take when we perform, but on the basis that we seldom give perfect takes when we perform live if we're all honest, what are the odds that we will?


Refer to my slightly earlier point in which I mention that mistakes in live performance are often forgotten in minutes or even seconds (if noticed at all) and now relate that to how your performance is. If you make a mistake during a take, is it worth scrapping the take and starting again? Obviously if it affected your confidence and this made itself known going forward then that's OK, or if it was a significantly large mistake then fair enough. However, don't fall victim to giving up on otherwise decent takes.


On the flip side of this, of course, is the idea that imperfection = perfection. Of course we want our performance to be as right as possible, but the occasional dud note here or there can actually enhance a performance, serving as a reminder that - in this digital age - we are, in fact, listening to a human performing on a very real instrument.



Are You Giving Yourself Breaks?



Again, one of the worst things you can do is be relentless with your takes. If you really must be recording take after take after take, make sure you give yourself suitable breaks. Try working in a break every 30 minutes, for example.


It is very easy to over practice with music, and taking several takes of the same piece or passage can have the exact same effect in as much as you can actually start to almost forget what you are supposed to be playing it because you've 'mushed' your brain!


In addition to this, you'll be giving your hands a break and allow yourself time to destress, assuming you're the type who gets increasingly stressed each time it goes wrong. Stress not only shines through unwontedly on your performance, but it also further restricts you from doing your best because you'll be tenser, potentially shaking more and for that reason all the more likely to go wrong and need to take yet another take.



Record Yourself More Often



If you have the option, don't be a stranger to recording. Put yourself under the pressure more often! You don't have to book yourself into a studio or have a fancy setup in order to do so.


Recording yourself playing a piece on your phone's video camera is a great idea - especially if you tell yourself you're going to upload it to social media, for example. Give yourself incentive. If it doesn't work out, it doesn't work, but you'll be getting more and more used to doing it.


That way, when you come to do it for real, you'll have much less of a problem!


Of course, these are only pointers and the reality is there are all sorts of factors that can affect your performance and mindset, but certainly keep these ones in mind.


Here I am, working from home again and writing a blog that is a little bit different than my usual output. Why? Because this time I'm not focusing on music directly - I am instead focusing on the joys of being self employed in the hopes that either somebody with the motivation to be self employed will understand the things that I was never told before I made the move, OR those who wish to use my services - or that of any self employed individual - better understand what their money is going towards.


I would like to make very clear, however, that I love what I do and I wouldn't change it for anything. This blog post is for informational purposes purely, to give folk an insight into the importance of supporting those who are self employed.


Jack Mitchell Smith piano teacher tutor macclesfield Congleton Cheshire self employed sole trader

Employment



My previous employment was not necessarily in the category you might call 'exciting', but it was certainly of a nature that I considered I did laborious tasks for little recognition. However, I would like it to be known that I will never again (should I go back into employment) be ungrateful for being there and for the work I'm doing.


Whether I'm sat there bored because I haven't got work to do or I've caught up, or I consider the work I'm doing to be "more than my job's worth" - to coin a phrase that may have been used by me in a past life -, there is one undeniable fact:


I get paid for this. It is a guaranteed income and - what's more - the figure that went into my bank at the end of the month was following standard deductions (pension, National Insurance, Tax), I had between 5 and 6 weeks of paid annual leave per year, I didn't have to worry if I was ill because I had long enough sick leave that I could justify being ill every now and then...


And whilst I've never been blind to what self employed people's responsibilities are, they didn't really start to hit me until now...



Piano Practice



Needless to say, piano is a major part of my livelihood. Even if I were to commit entirely to teaching, I'd still need to stay relatively ahead of the game, therefore play every day and practice every day. In order to do this, I put aside a couple of hours a day in which to go over scales and exercises and look at pieces I'm working on. This does have the potential to pay off if ever I get the opportunity to play for a recital for which I am paid, but ultimately it is unpaid.



Marketing



Being self employed, I am responsible for absolutely everything.


That includes marketing. And whilst Facebook and the like are excellent tools, even they have limitations when used purely on a cost-free basis.


Therefore, social adverts, magazine / newspaper articles and even this website are the result of money. This will, of course, be no surprise, but bear in mind the following:


As a sole trader, they are all my responsibility.


Therefore, I have to find time to keep my website fresh, type out blogs (such as this very one), update or create social ads, contact venues and societies to keep my name fresh in their minds...ultimately it's a lot of work that further goes into the 'unpaid labour' category.



Income



Income is another one that I am responsible for managing. Fortunately - because I spent a load of money on my piano - I am still not quite paying tax on my income. However, there will come a time when I do.


Bear in mind also that all of the outgoings above still need honouring.


In addition to this, deductions that would have been taken off prior to me receiving any money in previous employment has to be done be myself.


For example - it is up to me to hold on to so much percentage of my income for tax payments. It is also important I keep some of it held back for outgoing costs before I officially 'pay myself'. In addition - whilst not compulsory - if I want to prepare in any capacity for later life, it is now entirely on me to pay into a private pension.



What does this mean for the customer...



In short, the purpose of this blog was to highlight


  • the realities of your financial responsibility as a self employed individual in any sector (which I think I have achieved), and

  • why self employed individuals charge more, which I will come onto now.

On a few occasions I've seen ads and heard remarks such as 'make a fortune by being self employed'.


It does, indeed, sound tempting. If you can charge - let's say - £30 per hour for your time, that's...£210 per day!


That's £1050 per week!


That's £4200 per month!


Sounds wonderful!


Except it's not that simple.


First of all, this sort of regular income will incur heavy tax anyway. True of everyone, naturally, but bye bye £1680.


Now you've got £2520. Still a nice figure, yes?


Yes.


So, exactly how did you get to a point where you can earn this much money?


Marketing!


Does small time marketing work?


No. Regardless of all those fantastic ads you see that say spend little and get big results! But unless you've struck gold on a real word of mouth reputation, chances are you'll be putting big money into marketing. Like, hundreds.


Granted, this is tax deductible, so my equation might not be 100% accurate, but let's imagine not and you've spent £800 in advertising this month. Now you've got £1720.


Still a handsome figure considering what's gone out, but nowhere near what you started with.


Now consider your national insurance contributions and pension if you wish to set one up.


It's starting to come down.


But it's still a nice figure, yes?


True - but here's the kicker.


You only get paid for the hours you 'work'.


For example, I only get paid when I give a piano lesson.


This means that if I were charging £30 per hour then I would need to be seeing back to back lessons all day every (week)day.


Aside from being rather exhausting, this allows me no opportunity to do any of my other non-paid work. Such as marketing. And without marketing, I don't fill the lessons!



Conclusion



It's not all doom and gloom, however. Self employment is a wonderful thing. The sense of control - of being able to provide a service that you wish could have been provided for you because it's done your way! However, it is difficult and it is stressful.


Please be mindful that those who are self employed are trying to make a living too, and whilst we are getting much better with grasping the idea of 'it pays for the materials' when discussing higher prices, it's important to consider that you're also paying towards marketing, travel and even breaks for the sole traders.


Scandalously, since my last post where I promised that if I were to move on with this sonata it would be to a different movement, here I am revisiting the same old. Because it's the hardest movement by far for reasons covered in previous blog posts.


So much so that whilst looking for wrist exercises to help strengthen my wrist, I unwittingly stumbled across a YouTube channel called 'Piano Insights', in which the piano extraordinaire Clive breaks down well known pieces and really makes you stop and think about what you are playing!


And lo and behold, if the entire Pathétique Sonata isn't one of them!


So I watched an entire 20 minute video which focused entirely on the first page of notation (I said he got involved), but I did so with such enthusiasm and admiration as it got me excited to try his technique in the chromatic. And then I watched the first few minutes of the dreaded 'Allegro Molto e Con Brio' - the passage that really requires strength developing in my left hand.


And the video below is the result so far, and whilst it is still littered with imperfection (bear in mind I was focusing mainly on the left hand), I was impressed at myself for how much more fluid it sounded when I attempted playing the passages I was focusing on all the way through (jump to 3:40 to hear this).



So...what advice am I taking on board from Clive?



Grave - Pauses and Silences



I was already quite pleased with the progress I was making on this particular passage. Because it is extremely slow (grave being the slowest tempo marking, in fact), it left a lot of leeway for pausing, and also made me reconsider rests. For example, when the rests are allowed to play out for their proper length, you find that you get a very dramatic pause within the music.


In addition, the demisemiquavers at the end of several bars have been, in my past interpretations, been treated more like grace notes / acciaccatura than full notes in their own right. This is just because in my mind, such a note value (demisemiquavers being a 1/32 note!) is associated with speed, yet in the grave tempo they are actually counted more similarly to how we would count a quaver or - at a push - a semiquaver. This allows for it to ring out more and create a much more dramatic statement when transitioning into the following bar.



Chromatic Scale - Re-finger



The main reason I wanted to see what was said about the Grave passage was due to the descending chromatic scale. Although the score does suggest fingers, I wasn't entirely convinced. Yet now a new fingering has been suggested and I believe I can get on board with it.


The problem is what - whilst I was rising up to the Eb on finger 5 as the music suggests - I was then descending not dissimilarly to an actual chromatic scale (i.e. a technical exercise). This would be acceptable for one that didn't need such impressive, rapid approach, but the new fingering allowed me to develop. I think I can get it much more even - especially as I approach the bottom of the scale - but it is getting there.


Basically it relies on using all 5 fingers descending from Eb, then finger 4 over and use all 4 fingers descending (4 over on the Bb), then finger 3 over to the Gb and finish off with 3 fingers. Repeat this (finger 5 over to the Eb) and then repeat just the first group again so that you can finish on the B natural.


The advise to practice each individual group separately and not too rapidly before joining them up was also inspired!



Give the Left Hand a Workout



My main reason for watching this group of videos on Pathétique was, of course, to try and find out how I can strengthen my left hand.


My technique for the tremolando was not too bad, but the initial encouragement was the just do the left hand and focus on putting emphasis onto every group of four or eight notes. This way it was establishing strict rhythm in the left hand, which is especially important for this piece. Particularly as my left hand would tire, so would my strict tempo and I would be off beat and the whole thing would fall apart!


But in addition to this - as can be seen in the video - was the encouragement of giving the left hand more of a workout when practising. Effectively meaning that if and when you come to play the piece properly then you're actually using less effort than a practice run. The way to do this was to effectively half speed only the right hand so that you were playing twice as many tremolandos as needed.


And what a workout it was!


Despite the fact that my hand was still very much tired after performing this passage - especially after a few times - it has to be said that I felt so much more confident in giving it a go. And, as can be seen from the video (3:4o onwards) I was very happy with arguably my greatest progress on the piece so far, save for actually learning it.


Once I have improved on this more, I can re-insert the dynamic that I had so carefully put into my learning but got forgotten when trying out this new technique.


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