[et_pb_section bb_built=”1″ _builder_version=”4.27.5″ custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.6″ vertical_offset_tablet=”0″ horizontal_offset_tablet=”0″ z_index_tablet=”0″ text_text_shadow_horizontal_length_tablet=”0px” text_text_shadow_vertical_length_tablet=”0px” text_text_shadow_blur_strength_tablet=”1px” link_text_shadow_horizontal_length_tablet=”0px” link_text_shadow_vertical_length_tablet=”0px” link_text_shadow_blur_strength_tablet=”1px” ul_text_shadow_horizontal_length_tablet=”0px” ul_text_shadow_vertical_length_tablet=”0px” ul_text_shadow_blur_strength_tablet=”1px” ol_text_shadow_horizontal_length_tablet=”0px” ol_text_shadow_vertical_length_tablet=”0px” ol_text_shadow_blur_strength_tablet=”1px” quote_text_shadow_horizontal_length_tablet=”0px” quote_text_shadow_vertical_length_tablet=”0px” quote_text_shadow_blur_strength_tablet=”1px” header_text_shadow_horizontal_length_tablet=”0px” header_text_shadow_vertical_length_tablet=”0px” header_text_shadow_blur_strength_tablet=”1px” header_2_text_shadow_horizontal_length_tablet=”0px” header_2_text_shadow_vertical_length_tablet=”0px” header_2_text_shadow_blur_strength_tablet=”1px” header_3_text_shadow_horizontal_length_tablet=”0px” header_3_text_shadow_vertical_length_tablet=”0px” header_3_text_shadow_blur_strength_tablet=”1px” header_4_text_shadow_horizontal_length_tablet=”0px” header_4_text_shadow_vertical_length_tablet=”0px” header_4_text_shadow_blur_strength_tablet=”1px” header_5_text_shadow_horizontal_length_tablet=”0px” header_5_text_shadow_vertical_length_tablet=”0px” header_5_text_shadow_blur_strength_tablet=”1px” header_6_text_shadow_horizontal_length_tablet=”0px” header_6_text_shadow_vertical_length_tablet=”0px” header_6_text_shadow_blur_strength_tablet=”1px” box_shadow_horizontal_tablet=”0px” box_shadow_vertical_tablet=”0px” box_shadow_blur_tablet=”40px” box_shadow_spread_tablet=”0px” global_colors_info=”{}” background_pattern_color=”rgba(0,0,0,0.2)” background_mask_color=”#ffffff” text_text_shadow_horizontal_length=”text_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=”text_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=”text_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=”link_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=”link_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=”link_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=”ul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=”ul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=”ul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=”ol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=”ol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=”ol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=”quote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=”quote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=”quote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=”header_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=”header_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=”header_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=”header_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=”header_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=”header_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=”header_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=”header_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=”header_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=”header_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=”header_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=”header_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=”header_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=”header_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=”header_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=”header_6_text_shadow_style,%91object Object%93″]<\/p>\n
A short musical paraphrase inspired by \u201cInstructions for Making Yourself Unhappy\u201d by Paul Watzlawick<\/em><\/p>\n Introduction<\/strong> Have you ever seriously considered what might happen if one of these public performances actually turned out to be successful?<\/p>\n The most insidious risk in a musician\u2019s life is the danger of being satisfied with oneself. Being satisfied, after all, is a weakness to be ashamed of, rather like admitting: \u201cI could not have done better than this.\u201d<\/p>\n But what if, by mistake, you occasionally gave in to the temptation to feel some pleasure and satisfaction with yourself? You might become attached to this unhealthy feeling, forget that the path of music is hard and full of thorns, delude yourself into thinking you are good, and lose touch with reality.<\/p>\n In short, it is far better to avoid this problem in advance by preparing yourself, from now on, for a lifetime of dissatisfaction.<\/p>\n Another dramatic danger lies in every successful human activity: receiving admiration and recognition from others.<\/p>\n How could you possibly bear the crushing weight of the expectations of an audience or a jury? Just imagining yourself playing would paralyse you. You would no longer be allowed to make a single mistake; you would always have to be perfect and live up to expectations. And, as a cruel twist, you would finally be forced to accept that success can never be guaranteed everywhere, at any time and under any circumstances.<\/p>\n And if, in an exam, you were to receive a good mark, or someone told you that you have talent, you would be dangerously close to catastrophe. \u201cNowadays it is impossible to make a living from music,\u201d Absolute truths that cannot simply be abandoned lightly, giving up their sad but comforting reassurance. No, it is much better to remain faithful to your healthy realism and live your musical life perhaps frustrated, but comforted by the inner certainty of being right.<\/p>\n And, of course, with proper gratitude towards those (teachers, older colleagues, music critics, uncles and aunts\u2026) who have instilled these healthy values in you with firm and righteous discipline.<\/p>\n What would happen if many people started questioning truths that had been reached and taught at the cost of entire lives filled with suffering and disappointment? All this requires that we do not simply let a concert, a competition or an exam turn out as they will, but that we commit ourselves with all our strength to make sure they fail, rigorously and scientifically avoiding these frightening consequences.<\/p>\n Here, then, are some useful exercises to cultivate and refine this indispensable art, and to avoid ever slipping, even unintentionally, onto the dangerous path of success.<\/p>\n Warning<\/strong> Exercise 1<\/strong>\u00a0Keep negative experiences from the past firmly in your mind<\/em><\/p>\n Recall a past episode in which you played in front of others and something went wrong. Remember precisely the feelings of fear, anxiety or panic you experienced, and the negative comments you received. Focus on the wrong or messy passages and on memory lapses, with the calm awareness that what really matters is not remembering the exact mistakes, but being able to reproduce at will the feelings of humiliation and frustration you experienced. Exercise 2<\/strong>\u00a0Focus on other people\u2019s judgements<\/em><\/p>\n If you are preparing for an exam or a competition, it is essential to keep your attention constantly and intensely focused on the members of the jury. Exercise 3<\/strong>\u00a0Distract your attention from the present moment<\/em><\/p>\n While you practise, always think about what you have just played \u2014 preferably a wrong or unresolved passage \u2014 or focus on a passage that is still to come, which you consider difficult, or better yet, insurmountable. Exercise 4<\/strong>\u00a0Compare yourself in a destructive way<\/em><\/p>\n Listen frequently to colleagues or fellow students whom you consider better than yourself. Attend concerts by famous musicians who play the same repertoire as you and listen to many recordings \u2014 without falling into the mistake of taking inspiration from them. Exercise 5<\/strong> \u2014 Engage in destructive comparison<\/p>\n Use platforms such as YouTube or Spotify to listen to polished, flawless recordings of the pieces you are studying. Compare them meticulously \u2014 tempo, accuracy, control \u2014 leaving no detail unexamined. Exercise 6<\/strong> Train yourself to make negative predictions<\/em><\/p>\n Before any important moment in your musical life, it is good practice always to imagine the worst, in order to avoid disappointment \u2014 and to repeat it to yourself several times. Exercise 7 <\/strong>Practise mechanically<\/em>Before your performance, avoid any opportunity to verify your overall level of preparation. Focus on the tiniest details and try to practise in a repetitive and mechanical way, so that your potential creativity does not risk emerging and the music does not start to flow naturally and spontaneously. Coda<\/strong>:<\/em>\u00a0If, despite all your effort and dedication, you still fail to obtain satisfactory results, remember that there is always a backup solution \u2014 the easiest one, guaranteed and scientifically proven:<\/em><\/p>\n find convincing excuses for not committing yourself and not preparing adequately; then shift the blame onto external factors \u2014 the time available, your teacher, the jury, your parents, or even a defective instrument. And if none of these explanations seem sufficient, you can always rely on the most definitive ones: genetics or destiny.<\/em><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" A short musical paraphrase inspired by \u201cInstructions for Making Yourself Unhappy\u201d by Paul WatzlawickIntroductionWhy should a concert, a competition or an exam ever \u201cgo well\u201d?Have you ever seriously considered what might happen if one of these public performances actually turned out to be successful?The most insidious risk in a musician\u2019s life is the danger of […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":" Piccola parafrasi musicale e sette esercizi su motivi tratti da \u201cIstruzioni per rendersi infelici\u201d di Paul Watzlawick<\/em><\/p> Introduzione<\/strong> Esercizio 1<\/strong>\u00a0Rievoca continuamente il passato<\/em> Esercizio 2<\/strong>\u00a0Concentrati sui giudizi degli altri<\/em> Esercizio 3<\/strong>\u00a0Evita di focalizzarti sul presente<\/em> Esercizio 4<\/strong>\u00a0Studia il pi\u00f9 automaticamente possibile<\/em> Esercizio 5<\/strong> Confronto distruttivo<\/em> Esercizio 6<\/strong> Pronostici negativi<\/em> Esercizio 7\u00a0<\/strong>Obiettivi confusi o lontani<\/em> Coda<\/strong>: Se, anche dopo molto impegno e applicazione, non dovessi ottenere risultati soddisfacenti, sappi che c\u2019\u00e8 sempre la soluzione di riserva, quella pi\u00f9 facile, garantita e testata scientificamente: trova delle\u00a0giustificazioni\u00a0<\/strong>per non impegnarti e prepararti in modo adeguato; poi, scarica le colpe sul tempo, sul tuo insegnante, sulla commissione, sui tuoi genitori, sullo strumento difettoso. E in mancanza di scuse buone come queste, puoi sempre ricorrere alla genetica o al destino.<\/em><\/p>","_et_gb_content_width":"","footnotes":""},"categories":[10],"tags":[],"class_list":["post-2282","post","type-post","status-publish","format-standard","hentry","category-articles"],"_links":{"self":[{"href":"https:\/\/righini-zadra.it\/en\/wp-json\/wp\/v2\/posts\/2282","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/righini-zadra.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/righini-zadra.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/righini-zadra.it\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/righini-zadra.it\/en\/wp-json\/wp\/v2\/comments?post=2282"}],"version-history":[{"count":15,"href":"https:\/\/righini-zadra.it\/en\/wp-json\/wp\/v2\/posts\/2282\/revisions"}],"predecessor-version":[{"id":2495,"href":"https:\/\/righini-zadra.it\/en\/wp-json\/wp\/v2\/posts\/2282\/revisions\/2495"}],"wp:attachment":[{"href":"https:\/\/righini-zadra.it\/en\/wp-json\/wp\/v2\/media?parent=2282"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/righini-zadra.it\/en\/wp-json\/wp\/v2\/categories?post=2282"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/righini-zadra.it\/en\/wp-json\/wp\/v2\/tags?post=2282"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Why should a concert, a competition or an exam ever \u201cgo well\u201d?<\/p>\n
Isn\u2019t it common knowledge that real artists are never satisfied with themselves? Even when they are standing in front of an enthusiastic audience, deep down they secretly feel they have not given enough, that they could have done better and more. After all, this is an absolutely necessary thought for an artist, in order never to settle and to keep striving for perfection \u2014 which, as everyone knows, can never be reached.<\/p>\n
All the solid certainties you have patiently built up, day after day and at the cost of painful emotional shocks, might collapse. Objective and unquestionable realities such as:<\/p>\n
\u201cThere are so many pianists better than me,\u201d
or, more realistically,
\u201cIf you haven\u2019t played Brahms\u2019s Second Concerto by the age of eight, you might as well give up.\u201d<\/p>\n
Many might start believing that everything had been wrong, reject their past and their teachers, and chase the unhealthy madness of enjoying playing, no longer cultivating the necessary torment that characterises the life of a true musician. Even worse, they might encourage innocent young people to study the piano, creating widespread confusion.<\/p>\n
If, despite your best efforts and dedication, you still fail to obtain satisfactory results, remember that there is always a backup solution \u2014 the easiest one, with excellent and statistically proven results: find good excuses for not practising and not preparing properly; then blame your teacher, the jury, your parents, the musical world and, above all, destiny.<\/p>\n
Avoid allowing any pleasant or positive memory to surface. Carefully remove from your mind any encouragement or appreciation you may have received and, above all, forget any sensible advice that might have been given to help you change. In this way you will avoid the risk that things might go differently next time.<\/p>\n
Immediately give up any personal and insignificant musical ideas of your own, and try instead to adapt as much as possible to what you think \u2014 or have been told \u2014 their ideas might be.
If you know any of them, try to remember whether they have previously made a negative comment about you, so that you can practise magnifying it. Or recall any criticism they may have addressed to someone else, in order to prepare yourself to receive similar judgments.
Find out about their interests and preferences so you can discover the personal reasons they will surely have for failing or eliminating you.
You can apply the same method to the audience at a concert, preferably focusing on people you consider particularly \u201ccompetent\u201d, or on music critics.
If you do not know any, ask envious and gossiping people what they think. (Envious people are far more reliable, because unlike your friends they have no hesitation in telling you the truth.)
And if nobody can provide sufficiently terrifying clues, let your imagination run free \u2014 and remember: reality always exceeds imagination.<\/p>\n
Spend as much time as possible worrying about future commitments and listing everything you cannot yet play and will most likely never be able to play.
In this way you will be sure not to keep your attention and energy on the music.
If this exercise proves difficult, try to divert your attention in other ways: think about the latest football championship, the last film you saw, or your partner.<\/p>\n
The only truly useful purpose of comparison is to highlight your flaws and limitations as clearly as possible, so that you can remember that you will never be able to play like them..<\/p>\n
Whenever you hear colleagues or fellow students who play better than you, seize the opportunity to highlight your own limitations and flaws with maximum clarity.
Repeat to yourself, several times if necessary, that you will never be able to play like them.<\/p>\n
Try to imagine meaningful situations: memory lapses that prevent you from continuing and perhaps force you to leave the stage, panic attacks that paralyze your fingers, and so on.
In this way, in addition to enjoying all the benefits of a negative outcome, you will also experience the classic satisfaction of those who can proudly say: \u201cI knew it would happen.\u201d<\/p>\n
Remember that if something does not work, it is only because you have not repeated it enough \u2014 and always in exactly the same way.
Keep your whole body rigid and tense at all times. To help yourself, think about how difficult the pieces you are playing are.<\/p>\n
Audizioni, concerti, concorsi, esami: ma perch\u00e9 dovrebbero \u201candare bene\u201d?
Hai mai considerato seriamente le conseguenze a cui ti esponi se le tue performance avessero successo?
Si sa, uno dei\u00a0rischi\u00a0<\/strong>pi\u00f9 insidiosi nella vita di un musicista \u00e8 quello di sentirsi soddisfatto. Non \u00e8 forse risaputo che i veri grandi artisti non sono mai contenti di s\u00e9 stessi? Persino quando hanno davanti a loro una folla in delirio, nel fondo del cuore coltivano il segreto sentimento di non aver dato abbastanza, che potevano fare\u00a0meglio e di pi\u00f9<\/strong>. Si tratta di un pensiero necessario alla grandezza di un vero artista, affinch\u00e9 non si accontenti mai ed aspiri sempre alla\u00a0perfezione<\/strong>, che, si sa, non potr\u00e0 mai essere raggiunta. Essere soddisfatti \u00e8 in fondo una debolezza infantile di cui vergognarsi, da nascondere; un po\u2019 come ammettere: meglio di cos\u00ec non avrei potuto fare.
E se, per errore, cedessi alla tentazione di provare un senso di piacere e soddisfazione nel suonare? Potresti finire per attaccarti a questo sentimento morboso, dimenticare che la strada della musica \u00e8 difficile e irta di spine, perdendo completamente il contatto con la realt\u00e0. Insomma, molto meglio evitare in anticipo questo pericolo, e prepararti fin d\u2019ora all\u2019insoddisfazione perenne<\/strong>.
Anche perch\u00e9, in caso di successo, ti dovresti confrontare con un altro drammatico rischio: quello di essere apprezzato e riconosciuto. Come sostenere, allora, il\u00a0peso schiacciante<\/strong>\u00a0delle aspettative del pubblico o della commissione? Il solo immaginare di uscire a suonare ti paralizzerebbe; non potresti pi\u00f9 sbagliare una sola nota, dovresti essere sempre perfetto e all\u2019altezza della situazione.
Se poi ad un esame prendessi un bel voto o qualcuno ti dicesse che hai del talento, saresti addirittura prossimo alla\u00a0catastrofe<\/strong>. Potresti veder sgretolare le certezze assolute che hai costruito faticosamente, giorno dopo giorno e a prezzo di piccoli e grandi\u00a0traumi quotidiani<\/strong>; realt\u00e0 oggettive e indiscutibili, quali \u201cil mondo \u00e8 pieno di musicisti migliori di me\u201d, \u201cormai \u00e8 stato detto e scritto tutto\u201d \u201coggi come oggi \u00e8 impossibile vivere di musica\u201d, o, ancor pi\u00f9 realisticamente: \u201cse a dieci anni non ti sei ancora esibito al\u00a0Concertgebouw\u00a0\u00e8 meglio che lasci perdere\u201d. Verit\u00e0 assolute, che non si possono certo abbandonare a cuor leggero, rinunciando al loro penoso ma familiare conforto.
No, molto meglio lasciar perdere, o sentirsi frustrati, ma ripagati dalla certezza interiore di avere ragione. E con la doverosa riconoscenza verso coloro (maestri, professori, critici musicali) che questi sani valori ce li hanno inculcati, con severo ma giusto\u00a0rigore<\/strong>.\u00a0E poi, cosa potrebbe succedere, se molti mettessero in discussione verit\u00e0 raggiunte ed insegnate al prezzo di\u00a0sofferenze e delusioni<\/strong>\u00a0trascinate per intere vite? In tanti potrebbero credere di aver sbagliato tutto, rinnegare il loro passato e i loro maestri, inseguendo l\u2019insana follia del piacere di suonare, senza pi\u00f9 coltivare i necessari tormenti che caratterizzano la vita del vero musicista, e magari, ancor peggio, incoraggiando giovani ignari allo studio della musica, creando cos\u00ec una gigantesca\u00a0confusione<\/strong>.
Tutto questo, insomma, richiede di non lasciare che un concerto, un concorso, un esame vadano come vadano, ma che ti impegni con tutte le nostre forze a far s\u00ec che falliscano, risparmiandoti con rigore scientifico e sicurezza matematica queste\u00a0temibili conseguenze<\/strong>.
Ecco, dunque, alcuni\u00a0esercizi utili<\/strong>\u00a0per coltivare e affinare quest\u2019arte e non rischiare mai di imboccare, inavvertitamente, la via del successo.<\/p>
Ricorda un episodio in cui hai suonato davanti a qualcuno e qualcosa \u00e8 andato storto; rivivi con precisione le sensazioni di\u00a0paura, ansia, o panico<\/strong>\u00a0che avevi, e possibilmente i commenti negativi che hai ricevuto; concentrati sui passaggi sbagliati o sporchi, sui vuoti di memoria e sulle incertezze, con la serena consapevolezza che l\u2019importante non \u00e8 ricordare con esattezza gli errori, ma saper riprodurre con la adeguata intensit\u00e0 quelle sensazioni di\u00a0umiliazione e di frustrazione<\/strong>\u00a0che hai vissuto. Evita che ti venga alla mente qualcosa di buono, di bello che hai fatto, accuratamente rimuovi ogni incoraggiamento o apprezzamento ricevuto, e, soprattutto, dimentica ogni consiglio che ti hanno dato; cos\u00ec eviterai il rischio che le cose, la prossima volta, possano andare in modo diverso da come le gi\u00e0 hai vissute.<\/p>
Se ti stai preparando per un esame o un concorso, \u00e8 essenziale che tu mantenga tutta la tua concentrazione sulla commissione. Rinuncia da subito a coltivare le tue personali e insignificanti idee musicali e cerca invece di\u00a0adeguarti\u00a0<\/strong>il pi\u00f9 possibile a quelle che tu pensi siano le loro aspettative. Se ne conosci qualcuno personalmente, cerca di ricordare se ha gi\u00e0 fatto, in precedenza, un commento negativo su di te, o su altri, cos\u00ec da allenarti ad ingigantirli. Informati sui loro interessi e simpatie, per scoprire i motivi personali, che certamente avranno, per bocciarti o eliminarti. Puoi applicare lo stesso metodo al pubblico di un concerto, meglio su persone che consideri particolarmente \u201ccompetenti\u201d, o critici musicali. Se non conosci qualcuno, fatti dire come la pensano da persone pettegole e invidiose, e che avranno quindi meno remore a dirti la verit\u00e0. Scopri quanto corrotti e malintenzionati siano. E se proprio non fossi in grado di reperire indizi sufficientemente\u00a0terrorizzanti<\/strong>, sbizzarrisci la tua fantasia, e ricorda: la realt\u00e0 supera sempre l\u2019immaginazione!<\/p>
Mentre ti eserciti, pensa sempre a ci\u00f2 che hai appena suonato, possibilmente qualche passaggio sbagliato, o non risolto, oppure concentrati su qualche passaggio che deve ancora arrivare, che consideri difficile, o, meglio ancora,\u00a0insormontabile<\/strong>.\u00a0Pensa a tutto il repertorio che non sai suonare e forse mai riuscirai, cos\u00ec da crearti progetti difficilissimi, o meglio ancora, impossibili. In questo modo ti garantirai di non mantenere la tua attenzione e la tua energia sulla musica. Se l\u2019esercizio ti riesce difficile, puoi provare a distrarti pensando all\u2019ultimo campionato di calcio, all\u2019ultimo film che hai visto, o al\/la tuo\/a fidanzato\/a.<\/p>
Prima della tua esibizione, evita qualunque opportunit\u00e0 per verificare concretamente la tua preparazione complessiva. Concentrati sui dettagli pi\u00f9 infimi, e cerca di studiare in modo frettoloso,\u00a0ripetitivo e meccanico<\/strong>, per assicurarti che la tua potenziale creativit\u00e0 non rischi di emergere. Ricordati che se qualcosa non viene bene, \u00e8 solo perch\u00e9 non lo hai ripetuto a sufficienza, e sempre nello stesso identico modo.\u00a0Blocca\u00a0<\/strong>il respiro e mantieni costantemente il tuo corpo\u00a0rigido e teso<\/strong>; per far questo, aiutati pensando a quanto sono difficili i pezzi che stai suonando.<\/p>
Usa YouTube o Spotify per ascoltare registrazioni impeccabili e patinate dei brani che studi, confrontando accuratamente metronomo e velocit\u00e0. Quando ascolti suonare colleghi o compagni pi\u00f9 bravi di te, cogli l\u2019occasione per sottolineare\u00a0i tuoi limiti e i tuoi difetti<\/strong>, e ripeti a te stesso pi\u00f9 volte che tanto non potrai mai suonare come loro.<\/p>
Prima di un momento importante della tua vita musicale \u00e8 buona norma pensare sempre al peggio, pi\u00f9 volte che puoi, per evitare di illuderti. Cerca di immaginare situazioni forti, quali vuoti di memoria che ti obbligano a interrompere e andartene,\u00a0attacchi di panico<\/strong>\u00a0che ti paralizzano le dita e via dicendo. In questo modo, oltre a godere dei gi\u00e0 citati benefici di un esito negativo, potrai godere anche della classica soddisfazione di chi \u201clo aveva previsto\u201d.<\/p>
Occhio agli obiettivi troppo accattivanti, interessanti o ben formulati: rischi di esserne fatalmente attratto e di doverti impegnare seriamente per perseguirli. Ignora tutti i progressi che fai, e ricordati che fino a che non hai ottenuto il risultato finale, non valgono niente. E non dimenticarti le aspettative: sempre pi\u00f9 alte, meglio se impossibili, in modo da garantirti di non poterle mai realizzare.<\/p>