North Main Music Student Profile

Meet Jim Smith

North Main Music's Longest-Attending Student 

Jim Smith has been taking guitar lessons at North Main Music since 2006. As the school was founded in 2001, Jim has the honor of being the school's longest-attending student. He was in his mid-50s when he began taking lessons with school director Mike McAdam. 

Yes, he had a guitar in his teens and said he knew a few "cowboy chords" but never really learned the instrument. Decades later, the Scotland native was listening to music on headphones on a flight home from Glasgow and decided he wanted to learn to play a complete song. He searched online and found North Main Music. 

"My first interaction with Mike was that he seemed like he genuinely wanted to help me learn guitar," said Jim. "He accepts people at their level, where some teachers may not. The way he has set up the school it suits a lot of people with different proficiencies."

"Mike lets the students choose the songs. He'd ask me, 'What do you want to learn next?' And if I couldn't think of anything, he'd suggest something that would challenge me. I also learned some music theory."

Highlights Over the Years

A few highlights from his 17 years of lessons include playing in a country band for two years with other students and a recital duo he performed with Mike where they exchanged leads on The Whipping Post by the Allman Brothers, which you can view in the YouTube video below.

Jim said the student concerts were a big reason he stuck around for so long as they gave him something to work toward.

"For the next few weeks, we'd go through the song until it was the way I wanted. Playing in front of an audience offers both a challenge and a reward."

North Main Music is a Community

"Apart from learning, it's a community at North Main Music," said Jim. "From recitals and group bands, people get to know each other. I have made friends there — not just Mike, but other teachers and Ryan Brooks Kelly, who plays with Jilly Martin and has become a successful musician."

"Ryan was always asking me to join him on stage during one of his concerts, but I didn't know the songs. So, Mike helped me learn a ZZ Top song in Ryan's set-list." 

Having learned the song, Jim was confident enough to play with Ryan at an open-air venue. 

"He played rhythm, and I played lead. After the show — I pulled it off — I couldn't sleep I was so excited," Jim exclaimed.

Advice to Other Students

 

"I would suggest taking lessons for better enjoyment, and if you can play publicly, that's something to aim for," he said. As for practice, Jim admitted, "There will be times that you are so busy that you can't get through what you learned from the prior lesson. But don't let that bother you; at some point it will click. It's worth persevering." 

A Fond Farewell to Jim

It is with both excitement and sadness that North Main Music says goodbye to Jim as he and his wife prepare to move to Newburyport. One of Jim's goals after settling in, aside from enjoying fishing, kayaking, cycling, and walking, is to play at an open mic night. 

Stay tuned...

 

 

 

The Ultimate Guide to Overcoming Stage Fright

Here at North Main Music, we offer our students many performance opportunities throughout the the year. In addition to our bi-annual student concerts, we also have an acapella group and several rock bands who perform both at our student concerts and at community events throughout the Nashua area.


And while most people look forward to their performance, it’s only natural that many of them also get a little stage fright. Stage performance is a challenging art form. Whether you’re acting out a role in a musical theater setting or playing a solo at an open mic night, the experience can be nerve-wracking even for seasoned performers.


It can be even more anxiety-inducing if you’re a perfectionist, as that can breed a fear of failure… and from there, performance anxiety can feel even stronger.


Performance anxiety (commonly referred to as stage fright) can devastate a performer’s career and enjoyment of their craft, but it doesn’t have to — performance anxiety is a normal human reaction and a completely curable condition if given the right resources, patience, and support system. This article is a guide to learning how to overcome stage fright. If you wish to understand and improve anxiety issues that are holding you back from giving your best performances, read on!

What is Stage Fright?

Let’s start with anxiety, which is defined as a feeling or worry, nervousness, or unease about an upcoming event. Most people have experienced some level of anxiety before, during, or after a performance, speech, sports game, or test. Anxiety differs from fear in that fear addresses a present threat, while anxiety is typically felt in relation to something in the future. Anxiety is a normal, healthy human experience and, in small doses, is beneficial in making decisions and in achieving peak success.


Performance anxiety (stage fright) in particular is nervousness or unease about a specific future event in which you will be required to execute a task, such as a song— and usually when you’ll be in front of an audience. Symptoms may be present during the task, for weeks or months leading up to it, and sometimes after the event is over.



So, how do you overcome stage fright? Even most experienced performers feel anxiety, so it’s more a process of learning how to deal with stage fright. Here are the recommended steps:

Knowing if you are truly experiencing anxiety is critically important, as it’s the first step toward understanding and overcoming it. If you have experienced a few or many of the following symptoms before or during a performance situation, you are experiencing stage fright:

• Excessive sweating (typically in the palms, feet, armpits or face, but could be anywhere)
• Increased heart rate
• Chills, hot flashes, or sudden changes in body temperature
• Shallow breathing, tightness in the chest, or hyperventilation
• Feeling dizzy
• Racing thoughts, obsessive fear of failure during the task
• Inability to concentrate or process logical information
• Nausea, vomiting, or diarrhea
• Loss of appetite
• Frequent urge to use the bathroom
• Inability to make small talk or hold a basic conversation
• Shakiness, especially in the hands
• Sensitivity lights, sounds, or textures in the environment

As you can see, this list of sensations is not only unpleasant, but makes performing at your best nearly impossible. Fear of failure becomes a self-fulfilling prophecy.

Look at the list of anxiety symptoms, and make a mental check mark next to the ones that you have felt during performance situations.


Note when it happened, how often, and any other details you remember. Are your symptoms limited to a specific few, or all of them? Are there symptoms you’d like to solve first as a priority, before others?


Now go back next to each symptom that you’ve checked, and rate it on scale of 1-10 as to how severe it felt (1 being hardly felt it, 10 being you felt it so much you couldn’t concentrate on anything else).


If you are seeing numbers in the 1-4 range, it’s likely that you are experiencing normal, healthy jitters that can actually add to your performance by making you more focused. If you are seeing numbers in the 5-10 range, you are experiencing moderate to severe stage fright and should read on to discover strategies for improvement.
















Before you can properly map a route to overcome stage fright, it’s important to know where you’ve been — and what has caused stage fright in the past. Let’s look at some of the reasons why you are experiencing stage fright, how they might contribute to your present challenges, and how you can utilize them most effectively.


Start by asking yourself some questions about your performing career, starting from the very, very beginning, which might include childhood memories or more recent situations depending on your age.

Recall the first time you performed for an audience, formally. Who was there? What thoughts and feelings do you remember? Were you happy with the outcome of the performance? Was it a positive or negative experience, was it stressful or relaxed?


Recall the first time you performed and experienced anxiety (if different from above). What were the circumstances? Who was there? Did you practice or prepare, and how much? If different from #1, what do you think sparked anxiety if there were previous performances that didn’t?


Recall the next few times that you performed, after #2 above. Ask yourself the same questions and look for patterns.


Recall the 2-3 most recent times you performed. How recent was it? Have you purposely avoided performing in recent circumstances due to fear? Were you with a large group, small ensemble or solo? Were there any post-performance experiences worth noting?


From the above questions, look for patterns. Are there any pivotal events that dramatically changed the course of your performance history? Are there any key people, venues, or pieces that contributed to where you’re at today?

The next step is re-contextualizing key anxiety triggers so that they don’t continue causing problems. Most people can identify one or two key incidents that left a large impact on their self-esteem.


Maybe it was a teacher giving an aggressive critique, a family member telling you not to quit your day job, or a performance in which you froze on stage and ran off crying.


At the time you may not have realized the impact of this key event, but in hindsight you can see that it has undermined your confidence and affected your ability to perform ever since.

The mind is powerful and can distort memories, making them seem bigger and nastier than they really were in real life. As far as exercises that can help you deal with stage fright, this is a great one to try. Pick one of your key incidents that is particularly painful or memorable and jot a few notes about it, sticking to the facts:

• What venue were you performing in?
• What piece were you performing or practicing?
• Who was watching?
• What feedback were you given, either verbal or non-verbal?
• How did you react? Did you shout, cry, freeze up, or laugh it off?
• If you responded verbally, what did you say?
• What did you do after the event?

Re-Contextualizing the Event

Now let’s bring some imagination to it: sometimes taking the gravity out of a memory and bringing it into a lighter, if not humorous, context can be extremely healing. By re-contextualizing this event, you are not dismissing it or minimizing its impact, but re-framing it in a more positive, lighthearted perspective. By giving your brain a new way to interpret it, you will begin to move past it and no longer allow it to block your present performance opportunities. Jot a few notes in response to the following:

• If you could go back and re-live this event, what would you do differently?
• Is there anything positive that has come out of the negative memory?

We’ve spent the preceding sections of this guide processing your past. Now it’s time to move into the present and start thinking about what you can do now, and in the near future, to overcome stage fright.


There is no magic formula, unfortunately; you must expose yourself – you must perform, perform, perform, and this is known as exposure therapy. Exposure therapy is a fancy name for the common-sense approach known as “facing your fears,” a technique commonly used by psychiatric doctors to treat phobias of all kinds. However, there is an art to exposing yourself to your fears, and it should be done in careful, small, planned doses that gradually lead up to a major milestone.


Create an Exposure Ladder

Exposure ladders are a technique used widely by the medical psychiatric community to treat generalized anxiety, panic disorders, and phobias of all types.


An exposure ladder is a list of activities that lead you gradually to a big goal (such as performing on your city’s biggest stage, for example), with activities ranked from least to most anxiety-provoking. An individual will work up the steps of the ladder, moving on to the next step only after mastering exposure to the current step with little or no anxiety.


You’ll need to create your own customized exposure ladder, starting with #1, which is your first, tiny little step toward performing — something that you could handle right now, today, with little or no anxiety symptoms. Then you’ll move on to #2, and so on, gradually making steps more anxiety provoking as you go, until you’ve reached a final step which is your final performing goal. You can make your final step as big or small as you want, just be honest with your true performing goals.


One precaution: be careful not to create too big of a jump between steps on the exposure ladder. You can repeat a step as many times as needed, in order to master that level with little to no anxiety. Depending on how often you are working on the steps, it might take months or years until you feel you’ve mastered a step, and that’s just fine. Study the example below to help you brainstorm ideas for your own ladder.


Example Exposure Ladder
1. Imagine yourself performing.

2. Perform alone.

3. Record yourself performing a scene or song and watch it without critique.

4. Perform for a supportive partner or friend.

5. Perform a duet or ensemble in front of family or friends at an informal gathering.

6. Perform solo in front of family or friends at an informal gathering.

7. Perform a duet or ensemble at a venue that is higher caliber, like a talent show for your class at school, a neighborhood barbeque, or karaoke at a bar.

8. Perform solo within the same circumstances in #7.

9. Perform with a semi-professional ensemble, such as an audition-only community chorus or community theatre.

10. Arrange an opportunity to perform solo for your peers or an audience, within the group you’ve identified in #9.

11. Enter a competition.

12. Continue finding opportunities similar to #11 with gradually higher caliber venues (or even paying gigs!).

Once you start working the steps on your exposure ladder, there are going to be successes, and also setbacks. It’s important to arm yourself with relaxation techniques so that when setbacks occur, you have a strategy in place to deal with them in a healthy way. Try these:


Meditation


Find a quiet space, sit or lay in a position that is comfortable enough to sustain for 10 minutes minimum, close your eyes, and stop thinking. It’s as simple as that; meditation is simply a state of thoughtlessness. Your mind will wander, and when it does, just bring it back to a blank space. (If this idea seems daunting to try on your own, there are lots of free meditation apps out there which you can try.) If you can commit to meditation as a daily practice for 10-20 minutes, over time you will be able to push aside thoughts that distract you during performances, including anxious thoughts.



Progressive muscle relaxation
Find a quiet space and lay down with your arms naturally at your sides and legs fully extended. Close your eyes. Prepare with three slow, deep breaths. As much as possible, focus all of your attention on the task at hand; don’t let your mind wander. Tense your forehead muscle, holding it as tight as you can for about five seconds. As you do this, inhale and hold the breath while the muscle is tense, and then exhale and breathe normally as you let the muscle relax. Enjoy the relaxed position for about five seconds.


Repeat the above process with the following muscle groups: your face/cheek muscles, neck muscles, shoulders (pull them up and tight), back muscles (pull your shoulder blades back and in), abs/stomach muscles, arms and hands (make a fist while you do this and tense it all the way down to the fingers), glutes, thighs, calves, and then finally feet.

Acceptance is a final and critical step in learning how to overcome stage fright, as resistance will only make a problem grow stronger. It’s important that you stop criticizing or judging yourself for having fears or challenges on stage, as it is one of the most common types of anxiety, and you are definitely not alone!


Acceptance is not declaring that stage fright is “just a problem you have” and that you’ll have to deal with it for the rest of your life. Acceptance is realizing you have some uncomfortable symptoms that are occurring and allowing the process of change to unfold, even if the process is difficult. Acceptance is allowing setbacks to happen, refraining from self-criticism when they do, and celebrating the small successes along the way.



Conclusion

Public speaking and performances of all types continue to be the number one fear of most adults. By reading this article, you have embarked on a journey that very few are brave enough to take – congratulations are due just for starting!


Your reading has given you initial tools for understanding what stage fright is, how you experience it personally, how your past is affecting your present, and beginning to learn how to deal with stage fright.


Performing is one of life’s great joys and you too can enjoy sharing your unique gifts and stories in front of an audience, free of fear, paralysis, or uncomfortable feelings. Don’t give up, and remember that psychological change is a gradual process. Good luck, and happy performing!


What are some of the ways have you learned how to overcome stage fright? Let us know in the comments!




This article was inspired by and adapted from this article on takelessons.com.

So you need a piano: Tips for selecting the right instrument for your needs

A beginning piano student needs a good instrument. Think of it this way: If you wanted your kid to play soccer, would you send him or her out on the field in a pair of cheap flip-flops, or would you make sure your they had a good pair of shoes? Shoes, of course! On the other hand, does your child need professional-quality $100 soccer cleats? Maybe not on the first day.

As a parent, you want to make sure your beginning piano student has a positive experience while learning to play, but you’re probably not ready to go out and buy a baby grand. That’s fine. To help you decide what will be best for your family and your budget, let’s talk about the options.

Acoustic Pianos

A quality acoustic instrument that produces sound from real strings and real wood offers a level of responsiveness and a range of dynamics and tone color than even the nicest electronic keyboard cannot match. The sooner a student has the opportunity to practice on an acoustic instrument with that kind of nuanced musical responsiveness, the better. True, acoustic pianos are expensive. The typical price range for a quality acoustic upright (also called “vertical”) piano is $4000 to $8000, and if you want a grand or baby grand piano, expect to pay even more.  There are some great brands out there, including Yamaha, Kawai, Boston, and Schimmel. If you already have a piano, be sure it is in tune and that the keys are in good working order. Tuning a piano typically costs between $150 and $200 and North Main Music would be happy to connect with you with reputable tuning companies in the Nashua area.

Electronic Keyboards

If you’re not ready to spend a few thousand dollars on an instrument, your beginning student can get off to a great start with an electronic keyboard or “digital piano”. Electronic keyboards come in many sizes and prices. For a new piano student, the most important factors will be the number of keys and whether or not the keys are weighted.

Learning on a keyboard with 88 weighted keys gives a student a big advantage. The weighted keys build hand strength and respond more like the keys of an acoustic piano, making it easier for an advancing student to move on. One of our top picks for beginning students in the electronic keyboard category is the Casio Privia PX-150, which has great key action and the same size keyboard, 88 keys, as an acoustic piano. These and other similar keyboards cost between $500 and $700.

Whether you buy a keyboard with weighted keys or not, it’s best to go with a trusted brand such as Casio, Yamaha, Kawai, or Roland.  When buying an electronic keyboard make sure to also purchase a bench and a stand. A keyboard set on a table will probably not be at the correct height for a young student seated in a chair. Ideally, the keyboard and bench should be set at the right height so that the player’s arm from wrist to elbow is parallel to the floor.

There are certain advantages to having an electronic keyboard over an acoustic piano, such as the ability to plug in headphones so that a child can practice without disturbing other members of the family. Electronic keyboards can also be connected to a computer with a midi cable and used with all kinds of educational and music production software. They’re more portable, and, unlike acoustic pianos, electronic keyboards never need to be tuned.

If a beginning student has access to a quality acoustic piano, they will have the opportunity to develop more nuanced musicianship from the first. But students can also get a great start with at an electronic keyboard and move on to an acoustic piano at a later time.

We hope these tips will be helpful to you in your search for the right piano for your currents needs. As always, you’re welcome to contact us if you have any other questions.

Adapted from this article on the Hoffman Academy website.

Photos from the North Main Music fall 2014 student concert courtesy of Robyn Neville.