dry hand sweaty hand

I know that by saying what I am about to say, I will face much criticism from many of you. All of this depends on our emotionality. Both sweating and the poor circulation that causes cold hands depend on an emotional factor. Many good and well-known pianists even wear wool gloves before a concert or must "warm up" on a piano backstage (assuming there is one). Try to "skip" this phase and enter immediately into the Music, thinking about everything we must and can express. Gently and lightly, get acquainted with the keyboard and try not to think at all about the impediments that the mechanism puts in place, placing itself between us and the sound. Denis Devallant says in his wonderful book LE PIANO to think directly about playing on the strings.

Besides, it is the eternal damnation of the pianist to be "far" from the production of sound. In my opinion, and not only mine, one must immediately find a sincere contact with the instrument by trusting it rather than challenging it! And so the concept returns that growing with the right reference under the fingers helps us understand "where we are" and prevents us from getting lost in the assortment of the "pianistic gesture." At the beginning of a concert, therefore, choose a piece that allows us to gain confidence with the keyboard without requiring too much refinement. Maurizio Pollini, in his youthful concerts, after already having won the Chopin Competition in Warsaw, often opened with Bartók's Suite op. 14 before tackling a dense program dedicated to Chopin. The suite, far from being easy, is however a good opening piece, with a first movement of strong sonorities, where one can also well test the effects of the resonance pedal.

Instead, it is useful to breathe deeply and ensure that the heart rate does not increase. This can influence the alteration of tempo speeds. I also recommend reading the beautiful book by Monique Dechsaussé (I hope it is spelled this way) "L'HOMME ET LE PIANO"

Last suggestion: before starting the piece, think about the incipit... When we begin, we will already be "inside the Music"!

Happy practicing

Certainly, sweaty hands and cold hands depend on the emotional factor, but dry hands, at least for me, occur

in moments of relaxation, when no one is listening to me, and always in the first few minutes; then the fingertip slowly begins

to enter into symbiosis with the key and gain grip. But certainly, dry hands are the least of the problems.

I imagine that managing emotions through iron self-discipline is part of a mature pianist's repertoire.

But I was wondering if there are any—and if anyone has found them—simple tricks or escamotages to counteract

the symptoms of stage fright, such as cold hands, sweaty hands, trembling hands, rigidity, or mental fog.

To give an example, I don't know... a walk before the concert, or a ginseng coffee, a damp cloth for the hands,

a superstitious gesture, or pharmaceutical remedies with a medical prescription, or thinking of a beautiful woman or thinking

of the beaches of Polynesia, drinking mallow tea... I don't know... the more the merrier...

Dry hands are a bigger nuisance for me than sweaty hands; in both cases, it can be resolved by rubbing the hands with a moistened handkerchief, but it doesn't last long.

Dry hands can also be resolved more durably with a thin layer of cream, but if you then start to sweat, you must immediately resort to the moistened handkerchief to remove what remains, otherwise the keyboard will become an ice rink..

I'll tell you about my experience. I only had this problem on a couple of occasions, about ten years ago, when I was between 14 and 15 years old. It's emotion playing this bad trick on us, and I completely agree.

Then I don't know what happened, perhaps I worked on myself, but afterwards my approach to public performances changed completely. I feel my arms and legs as if they are completely disconnected from the slight state of tension I have before playing. The only part that remains more active, for me, is the abdomen... many doctors say that the stomach is our second brain!... But two brains are too many, I'm not even sure I have the first one.

If I really must take a stand and give you advice, I would tell you not to look for any external solution, because in my opinion it would lead you astray. Instead, I would try to reorganize my way of seeing performance and the audience. Why am I anxious? What is the reason why I play? Why are those people sitting there coming to listen to me? (in my case, surely because they have terrible taste?) Does the anxiety have a basis? If so, what is it? Forgetting what I am playing? Aldo Ciccolini used to say that our mind is like a tape, it records everything we see and hear, and there is no reason to lose memory unless there is a malfunction, such as a heavy blow to the head or a shock... those seem like excellent reasons to stay calm to me. What calms me down is thinking only about what I am doing, that is, in which direction to vary the tone, the rhythm, the dynamics, and everything concerning the music...

I hope I have helped you, bye.

Right. And the foundation also lies in the awareness of study. That is, "I only feel reassured if I am thinking about what I am doing".....but what must I do? Sometimes one feels anxious because in the deep unconscious, one does not know well what must be done, both technically and musically. We must be conscious of having studied well and of having no doubts on how to resolve what we have to play. Furthermore, if playing from memory, but even if not, one must be able to assure oneself of knowing the harmonic "orientation" well. Even Rubinstein, in his last concerts, once while performing Chopin's first ballad repeated a bar... as if he had had a tiny blank, but knowing well what the Author has set up harmonically... saves us, and he, certainly, knew all of Chopin's Works well, which he played and recorded throughout his life. This does not mean we must know the "Opere omnie"... but rather try to understand, within the musical phrases, especially in tonal music, upon which harmony the piece is built.

Once, in the Conservatory, I asked a boy which Beethoven sonata he was supposed to play at the exam. He replied: "The op......." "Ah," I said, "the one in C minor!....." He stared at me without uttering a word of affirmation!!!

To respond to kklaus, in fact I also used to use a small wet towel, but the benefit lasted only for the duration of one piece.

The other day I tried a method for dry hands which consists of grabbing each single finger with the hand and rubbing the fingertip with the thumb while applying pressure. A fairly lasting natural moisture forms on the fingertip, or so it seems.

To respond to Magyar, I think that working on oneself is fundamental, but you yourself, if I may address you informally, do not know exactly what happened, and therefore you cannot explain to us how you did it. I believe that no man, not even the most experienced and uninhibited in the world, is immune to performance anxiety. Those who do it professionally possess the confidence that comes from awareness of their own abilities, but also and above all from having gradually become accustomed to it since they were little with school recitals, exams, and an increasingly large audience. Gradualness is important. Even a pop star like Michael Jackson started performing bit by bit with his brothers, the Jackson 5, until reaching oceanic crowds. Then there are those who know how to play but have always done so alone and have never faced the aspect of performance.

To respond to Pianoexpert, I always learn pieces by memory; methodically, I rely on kinesthetic and visual memory and I know exactly which key I am in. The results are very good because I listen to myself after recording. But when I have to perform—not in front of crowds, but in front of an aunt, a cousin, or a friend—it has often happened that I freeze up and can no longer find my way. Not to mention the tremor that inevitably compromises the fluidity of execution.

To counteract certain psychosomatic manifestations, concentration, willpower, and yoga are not enough. The human being is not just mind and spirit but also chemistry, so for certain extreme cases, I would not rule out pharmaceutical solutions with a medical prescription a priori.

But obviously everyone here will say that the only way is to change attitude or give up. But then someone who has had this problem should come here and tell us how they solved it.

pianoexpert wrote:

On 22/10/2019 at 07:49, pianoexpert said:

Right. And the foundation also lies in the awareness of study. That is, "I only feel calm if I am thinking about what I am doing".....but what must I do? Sometimes one feels anxious because in the deep unconscious, one does not know well what must be done, both technically and musically. We must be aware of having studied well and of having no doubts on how to resolve what we have to play. Furthermore, if playing from memory, but even if not, one must be able to assure oneself of knowing the harmonic "orientation" well. Even Rubinstein, in his last concerts, once while performing Chopin's first ballad repeated a bar... as if he had had a tiny lapse, but knowing well what the Author has set up harmonically... saves us, and he, certainly, knew all of Chopin's Works well, which he played and recorded throughout his life. This does not mean we must know the "Opere omnie"... but rather try to understand, in musical phrases, especially in tonal music, upon which harmony the piece is built.

Once, in the Conservatory, I asked a boy which Beethoven sonata he was supposed to play at the exam. He replied: "The one of op......." "Ah," I said, "the one in C minor!....." He stared at me without uttering a word of affirmation!!!

It might seem almost obvious to us that this should be known; however, I have also noticed that some teachers do not provide students with the principles of harmony through practical examples from the very first simple pieces they study, so that they can give a name and a sequence to what they are playing... This is because, in my opinion, students' learning abilities are often underestimated (at least, I hope that this is generally the reason and nothing more serious...).

Simple musical concepts such as the chord on the fifth degree that tends to resolve on the tonic, or the leading tone, the tension of a fourth degree relative to the fifth and the tonic, the main chord forms, or certain simple modulations of key, in my opinion should be pointed out from the very beginning, both with examples in the pieces being studied and by citing passages and beginnings of extremely well-known music to best grasp the sense of tension and relaxation they provide in relation to the development of the musical narrative.

I also believe that some generally take for granted that the study of music theory (e.g., the degrees of the scale according to Luigi Rossi) will automatically weave itself among the student's notes... it is not so, because almost always those who study that part of theory forget it quickly or do not have the "cunning" to place it upon what they play, perhaps because they were not made to notice how important it is and in what way it could be useful to them...

That student had even reached the point of studying Beethoven's sonatas and had no knowledge of all this... what I wonder is, therefore, how many years had passed since the first lessons?

He certainly relied exclusively on kinetic memory, watching the keys... but who knows how much tension there was before playing. It is a bit like a man crossing a suspension bridge over a void, but without handrails and extremely narrow; certainly, the fear is well-founded...

Magyar, I can tell you that you are going off-topic... you replied to Pianoexpert because you don't know how to answer me.

The trembling of the hands is independent of our will. Hands can tremble even if you are performing

easy pieces from the first course for 5-year-old children...

Agreed, dear Crystal! But perhaps these discomforts come from far away and we need to identify where from. Now, it is not to say that knowing harmony, notes, basic technical gestures for execution (see Sandor's text - How to Play the Piano -) etc. is enough to avoid trembling. Kissin said in an interview that in one of his many concerts, he had to go on stage and was extremely nervous... then, fortunately, he began to play and gradually calmed down. He also agrees with deep breathing, which tends to lower the heart rate a bit.

First of all, we must build within ourselves the thought that what we do is valid, appropriate, and right. And this does not lie in the difficulty of the piece. Of course. The Maestro must instill confidence in the student, without deluding them—confidence in their possibilities, even if temporarily or definitively limited or not illuminated by talent. Building self-esteem. Having clear ideas about the technique to be used and suggested. Instead of examples like "do as I do," in my opinion, they should emphasize to the student what they "should not" do. Gradually, a confidence is built that supports us and makes us feel more secure. There are many other things I would like to say, for example, about authorizing ourselves to make mistakes. Making mistakes is possible; it happens to the Greats. It helps us feel "free" in Music. However, studying with awareness and without deceiving ourselves. As a boy, one day, I went to a lesson very satisfied with being able to perform Brahms' Rhapsody op. 119, the one in E-flat. I played it from memory and that is how I wanted to bring it to the exam. My teacher, who knew a lot, invited me to play only the left hand from memory. I had a crisis. Perhaps I didn't actually know it!

And then one must believe in it, based, however, on well-done study... with a "clear conscience."

A Chinese friend of mine asked a Priest how he always managed to win first prize at the Orchid competitions he cultivated. "You see," he replied, "if I didn't believe it was a beautiful orchid, it would be a potato."

Naturally, Crystal, my words are absolutely intended to be neither a criticism nor a warning from on high... they are my personal opinions formed by my, albeit discontinuous, but multi-year experience as a teacher and from repeated concert experiences.

Good work

P.S. Anyway, it's lovely to think of a beach in Polynesia!!! I will try it!!!?

Magyar wrote:

15 hours ago, Magyar said:

Simple musical concepts such as the chord on the fifth degree that tends to resolve to the tonic, or the leading tone, the tension of a fourth degree relative to the fifth and the tonic, the main chord forms, or certain simple modulations of key, in my opinion should be pointed out from the very beginning, both with examples from pieces currently being studied and by citing passages and openings of extremely well-known music, to better grasp the sense of tension and relaxation they provide in relation to the development of the musical narrative.

I also believe that some people generally take for granted that the study of music theory (e.g., the scale degrees in Luigi Rossi) will automatically weave itself among the student's notes... it is not like that, because almost always those who study that part of theory forget it quickly or do not have the "cunning" to place it upon what they are playing, perhaps because it was never pointed out to them how important it is and in what way it could be useful to them...

...then at the first Bartók, modal piece, dodecaphonic piece, etc., the castle falls. I find classical harmony important, but as far as piano repertoire is concerned, it now truly concerns a very limited period of the repertoire.

This observation by Dieslrae is also interesting. Anyway, I realize that this is a piano forum

and not a medicine or psychoanalysis forum, and therefore Pianoexpert, from the height of his experience, can only provide precious

technical advice and curious anecdotes, but rightly cannot venture into slippery terrains that do not strictly concern

the piano. Yet this is the crux of the problem: Once social phobias are resolved, one could gain

at least 80% of the talent. As it stands, we do not know exactly how to solve this problem. Much like

baldness, we do not know how to make hair grow back again, yet the solution might be close...

Let's say that "Once social phobias are resolved" one might discover they have no musical talent... in this regard, a few topics came to mind:

this one in particular

For me, you either have talent or you don't...

and then...

Turning back to the topic, if poor ability (talent) in governing the emotional sphere is an impediment to concert activity... perhaps the person should do another job, no?

If I understand the discussion correctly, someone attributes these problems to psychological issues... I had read a couple of useful things in the past right here:

Setting aside the first posts, this one isn't bad either

Happy reading

Oracle, listen to me carefully, I thank you for your interest, and Lestofante too, but try to understand.

I don't have to be a concert pianist, but if I have a hobby that I like, just as when someone has the hobby of photography

and their friends ask them to show some photos, I too would like to be able to play something for friends

when I go to a house and find a piano. All the more so if solo performances are perfect

and I assure you they are perfect. You seem a bit narrow-minded to me. That self-control is a talent, I

agree, and also a great stroke of luck, but man by his nature aims to overcome every obstacle.

Even madmen once ended up in mental asylums for their whole lives and there was no hope for them, but after the important

pharmaceutical discoveries, the asylums emptied out. What seems impossible now could be possible in a few years.

That is why I am asking if anyone is aware of any scientific news

and let's skip all this useless debating about self-esteem, self-analysis, self-awareness...

CriytalPiano, I fear that the initial question:

"How to prepare to play with the right fingertip humidity?" has been a bit misleading; you allude to "preparation," which is why no one oriented themselves toward the "scientific novelty."

The question posed in these terms certainly requires medical specialization, as the request seems more oriented toward resolving a pathology than something that can be overcome in another way.

Given that I am not a doctor, there are surely grandmother's remedies for cold hands. Trembling hands could be linked to the emotional sphere... which can also lead to excessive sweating. For hands that are too dry, classic moisturizing cream (used constantly) can help... but not before playing, otherwise your fingers will feel mushy/sticky.

crystalpiano wrote:

10 hours ago, crystalpiano said:

Magyar, I can tell you that you are going off-topic... you replied to Pianoexpert because you don't know how to answer me.

Hand tremors are independent of our will. Hands can shake even if you are performing

easy pieces from the first course for 5-year-old children...

You must forgive me very much, I was in a hurry and unfortunately I didn't notice your reply; I saw in passing that someone below had replied but I hadn't understood it was yours, as you are the author of this topic? Unfortunately, I am not always able to read all the comments in the posts I respond to... I hope you will forgive me.

_______

I didn't write anything different from what you are saying... on the contrary, I was precisely reinforcing the reason why these are things that mostly happen at the beginning... perhaps I expressed myself poorly.

I agree that it is irrational. What I wanted to say, and Pianoexpert preceded me, is that we have an "unconscious":

that which apparently seems "without reason" to us actually has a reason, but we do not know it Rationally (and here is the explanation), and therefore it manifests in the most disparate and strange ways, especially through signals coming from our body.

Even performing very simple pieces can become extremely difficult... because even these deserve the same attention and the same approach to be played with serenity, awareness, and expressiveness...

There are so many dormant things inside us that we cannot even imagine them. There is a very lively world inside us that we ignore... even that which "is unknown to us" can provoke unconscious fears. Fears can be both well-founded and unfounded, but in both cases they are objective, because either they emerge, or a bodily symptom emerges. Sometimes the mind warns us of "danger" and does so through the most bizarre systems (or rather, with what we consider "dangerous" at that moment. Losing one's place while playing is one of these...

So I was saying that it can be due very simply to the need for theoretical deepening by a guide who reassures us. Or a thousand other causes, if we exclude this one...

It shouldn't worry you that a cause exists, but rather reassure you, because if one manages to discover it, a remedy also exists. But it is very important (and at the same time difficult) to accept it once it is discovered.

We are human beings, none of us is perfect and most (if not all) problems that seem insurmountable at the beginning can be resolved...?

Excluding all this, I quote Frank.

Well then, thanks to everyone for the advice, I'm closing the discussion I started, then if you want to continue it...

i am moving over to some medical sites. I understand your point of view and your psychoanalytic approach

to the issue but that was exactly what I wasn't looking for. I was rather looking for the name of an over-the-counter drug or a miraculous herbal tea like chamomile, valerian, lemon balm, hawthorn, hibiscus flowers... RESOLVED thanks to everyone

crystalpiano wrote:

I was wondering if there are any simple tricks, sleight of hand to counteract

symptoms of stage fright, such as cold hands, sweaty hands, trembling hands, stiffness, or mental fog.

To give an example, I don't know... a walk before the concert, or a ginseng coffee, a damp cloth for the hands,

a superstitious gesture, or pharmaceutical remedies with a medical prescription, or thinking of a beautiful woman or thinking

of the beaches of Polynesia, drinking a mallow herbal tea... I don't know... the more the merrier...

When I had anxiety, before a concert, it did me a world of good to talk with someone. But about something else entirely. And well, it worked. Unfortunately, fate meant that I was almost always alone.

And nothing, it only just occurred to me. Bye?

Magyar wrote:

On ‎21‎/‎10‎/‎2019 at 23:04, Magyar said:

many doctors say that the stomach is our second brain!... But two brains are too many, I'm not even sure I have the first one