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The pursuit of musical excellence is a journey that many musicians embark upon with a fervent desire to achieve perfection. We strive for flawless performances, impeccable technique, and unwavering precision. As an advanced amateur pianist, these are goals to which I too aspire.

But the constant pursuit for perfection and an ongoing desire for perfectionism in one’s music making can be a double-edged sword for musicians. The relentless pursuit of flawlessness can lead to a never-ending, often negative cycle of self-criticism and anxiety. Musicians who set impossibly high standards for themselves may find it difficult to ever feel satisfied with their performances, leading to a constant state of stress and self-doubt. Some may ask themselves, “will I ever be good enough?”

The pursuit of musical mastery is admirable, and indeed the striving for mastery is a major driver of motivation and commitment. However, it is also essential to recognise the significance of know when and accepting that you are “good enough” as a musician. Perfection can be an unattainable goal; acknowledging you are “good enough” is not only perfectly acceptable but can also be liberating and personally fulfilling. It can help musicians to break free from the paralysing grip of perfectionism, allowing them to enjoy the process of making music and to develop as artists and individuals.

My own personal acceptance that I am “good enough” came after I had spent nearly ten years studying for professional performance diplomas, having returned to the piano seriously after a gap of nearly 25 years. Having secured two diplomas with distinction in relatively quick succession, my ego led me to believe that the final, Fellowship diploma was well within my grasp. Unfortuntely, I failed this diploma; the deep disappointment I felt on receiving the news gave me an opportunity to reflect on what I really wanted from my music. I knew I would never be a professional musician, despite playing at an advanced level and receiving external validation from teachers, mentors, peers and audiences, and I knew I was a good pianist. But taking lessons, and attending courses and piano meetup events, where there was a tendency to constantly compare oneself to others of a similar ability, made me question my own abilities in a way which made practicing and music making feel like a chore rather than a pleasure. (And ultimately, as a amateur musician, pleasure should be at the foundation of one’s musical pursuits.)

“You don’t need to go on courses to know you’re good” my ultra-sensible, pragmatic and honest husband told me one day. And he was right. So I learnt to trust my own musical instincts, to recognise the value of what I had to say and to measure it against the music rather than other people – to, as Schumann said, “…converse more with scores than with virtuosi” – to recognise my own autonomy as a musician, and accept that I am “good enough”.

The result has been liberating. I no longer care what other people are playing, at what level they play at, or what repertoire they are working on. I play the music I want to play, and I’ve stopped beating myself up if I don’t practice every day (another joy of being an amateur is not feeling beholden to one’s instrument and muse every single day).

So why should you, as a musician, accept that you are “good enough?”. Here are some thoughts on the subject:

Embracing Individuality

Every musician possesses a unique set of skills, experiences, and perspectives. Embracing the idea that you are “good enough” means recognising and celebrating your individuality as an artist. It allows you to focus on your strengths, develop your style, and create a distinctive musical identity. While aspiring to reach new heights and improve is essential, acknowledging your current level of skill and artistry is a valuable step toward authentic self-expression.

Redefining Success

Success in music should not solely be measured by technical perfection or the approval of critics, peers, teachers or audiences. By accepting that you are “good enough,” you redefine what success means to you personally. It can encompass the joy of playing, collaboration with colleagues, the connection with your audience, and the sense of accomplishment from personal growth. This shift in perspective encourages a more holistic and fulfilling musical journey.

Reducing Performance Anxiety

The fear of making mistakes and the pressure to be flawless on stage are very common triggers for performance anxiety in musicians. Accepting that you are “good enough” can significantly alleviate this anxiety. When you recognize that making mistakes is a natural part of the learning process and that it does not diminish your worth as a musician, you can perform with greater confidence, freedom and enjoyment.

Sustainable Motivation

Constantly striving for perfection can lead to burnout. On the other hand, acknowledging that you are “good enough” can provide you with a sustainable source of motivation. The satisfaction derived from setting achievable goals, making incremental but noticeable progress, and celebrating small victories can keep you inspired and committed to your musical journey over the long term.

In conclusion, accepting that you are “good enough” is not a sign of complacency nor mediocrity. It is a testament to self-compassion, personal growth, and a healthier perspective on the art of making music. Embracing your current level of skill and artistry while still aspiring to improve can lead to a more fulfilling, enjoyable, and sustainable musical journey.

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Guest post by Mark Glover

In this post, euphonium player and brass teacher Mark Glover talks about something that has an impact on everyone, but especially musicians.

A friend recommended this book by John Tierney and Roy F. Baumeister to me a while ago, during a time when I was struggling a bit with my own belief and my own confidence. It definitely helped me and following my performance at The Brass in Concert Championships, it is always good to reflect and remind myself about the powers of positivity.

Euphonium power of bad bookThe Power of Bad Hits Musicians Straight After the Performance

When I came off stage, in my last performance, I had some familiar thoughts going through my head. The power of bad had control over me. A few questions, that pop up subconsciously. A focus on certain things, but nothing I am in control of. It is a weird feeling, almost like a day dream where you reflect quickly and brutally on the experience of that performance. When you speak to others, they are often doing the exact same thing! Some questions include:

“What did I do wrong?”

“What didn’t go well?”

“What did people think about me?”

“How silly did I look?”

Why is it that my mind doesn’t praise me straight away or doesn’t congratulate me on an amazing performance? Well, this is ‘The Power of Bad‘.

Sometimes, yes, things do not go our way in life or in music. We might know we have messed up and know we didn’t give our best and we have to deal with it. We have all been there and it is not a nice feeling. I normally just think about my family (who will love me regardless of anything) and also just very seriously tell myself to get back up, learn from it and move on.

However, even in those situations, it is important to reflect positively. Look for the light at the end of the tunnel. Was it really as bad as we thought?

How to Overcome The Power of Bad as a Musician?

As a musician and as a brass teacher, I often think about the idea that we get the whole picture. We feel, we think, we hear, we sense everything that is happening when we perform. But, what does the audience take from it? The audience do not feel the technical elements of playing the instrument, they never get the perspective from our point of view. As a brass player, I can internalise the sound I make. I can hear it inside and outside. This is an experience that no audience member or recording device is picking up.

As a result, we can be incredibly critical and negative towards ourselves when the actual picture being offered is viewed very differently by others. Audience members don’t focus on the bad, they want to be entertained and want to enjoy the show.

I have taught GCSE music students a lot as a teacher and students at that age are unbelievably picky with their self image and self-esteem. I have written some advice for GCSE music performance, how to score higher marks, which can be read via this link if you are interested and have the time.

‘The Power of Bad‘ elaborates on the fact that ‘bad‘ is stronger than ‘good‘, but if we know how to deal with it, we can make sure that ‘good‘ prevails. I am not going to give any spoilers for the book because it does contain some fantastic revelations and I highly recommend you read it if you want more help in this area. It is one of the best books on happiness you can find.

Use Positivity as a Musician to Overcome The Power of Bad

After my last performance, as I was driving home, I used the time to run through my own personal performance and tried hard to find as much good as possible. There were a few places in the performance where I had to play very quietly, they were all successful. There were a few places where I had to play very high, they were all successful. I had to get up and move around to sit in other places, I didn’t trip over anything or fall off the stage (I have fallen off a stage before! 🤣).

I found that this positive list would go on and on and actually it completely buried any negative thoughts that I initially had.

You have to find more good in your life, make the good / bad balance tip very strongly in the good, even if it is just from lots of small little good things. Get a grip of your thinking, steer it in a positive direction.

A few days after the performance, I had the opportunity to listen and watch the whole thing, because it had been filmed. Not one thing that I believed happened and was negative, was audible to my ears on the recording. There lies the power of bad, but my strategies from the moment I left the stage to the moment I watched the recording were positive, I overcame the bad with the good.

Grab a copy of the book and have a read; it will contribute to making you a better musician and more balanced person. It discusses other topics as well, like business, politics and psychology and is one of the best self help books I have read.

Good Preparation Beats The Power of Bad

Before the end, it is important to remember that good will not always just fall on you by chance. In order to be successful and in order to perform brilliantly as a musician, it requires belief and effort. It might be you come off stage, knowing you didn’t perform well, but also knowing that you had not worked very hard in advance. Preparation is key to success and if you want good things to happen in your life or in your performances, it is essential that you walk in the right direction. For more help with performance, check out my E-Book, The Inner Battle Between the Practice Room and the Stage.

Read more articles by Mark Glover and browse his website at markglovermusic.co.uk

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Those of us who teach and play ourselves understand that music requires commitment in the form of consistent, focused practising. This does not mean a snatched half-hour here or there or a blitz the night before the weekly piano lesson, but regular engagement with the instrument and its literature (at least 5 days out of 7 for noticeable progress to be achieved).

As pianists, much of our “work” (practising) is done alone, for some in almost monk-like seclusion. This separateness enables us to focus fully on the task in hand, without distraction. Most of us who chose the piano as our instrument actively enjoy the solitariness (I know I do), but equally this time spent alone can trigger self-doubt and negative criticism from within. Looking at what others are doing, what repertoire they are learning, how they are progressing, is toxic too: comparing oneself to others sets up further negative thoughts and can lead to lack of confidence and motivation.

When I returned to the piano after a 20-year absence, I wanted to play EVERYTHING. Of course this was a ridiculous pipe dream, but my appetite for repertoire focused my attention and motivated me to practise diligently and enjoyably virtually every day. But when I co-founded the London Piano Meetup Group and started meeting other pianists, I encountered people whom I perceived as “better” than me – because they were playing repertoire which I believed I could not play. This depressed me and the mantra “I can’t play that” began to haunt – and limit -my practising. I grew increasingly envious of the people who knocked off Ravel’s Jeux d’eau or Grainger’s Molly on the Shore with apparent ease, not to mention countless other pieces which I aspired to play…..

But hindsight and experience have taught me the power of “yet” – that simple three-letter word which can turn a negative phrase into something more positive and affirming:

“I can’t play that – yet”

“Yet” turns the task into a challenge and is the spur to set to and practise, to strive, to master.

“Yet” makes that Beethoven Sonata or Rachmaninov Étude-Tableau achievable, with practise.

“Yet” turns the seemingly impossible into the possible

“Yet” is a declaration of intent

By |

Those of us who teach and play ourselves understand that music requires commitment in the form of consistent, focused practising. This does not mean a snatched half-hour here or there or a blitz the night before the weekly piano lesson, but regular engagement with the instrument and its literature (at least 5 days out of 7 for noticeable progress to be achieved).

As pianists, much of our “work” (practising) is done alone, for some in almost monk-like seclusion. This separateness enables us to focus fully on the task in hand, without distraction. Most of us who chose the piano as our instrument actively enjoy the solitariness (I know I do), but equally this time spent alone can trigger self-doubt and negative criticism from within. Looking at what others are doing, what repertoire they are learning, is toxic too: comparing oneself to others sets up further negative thoughts and can lead to lack of confidence and motivation.

When I returned to the piano after a 20-year absence, I wanted to play EVERYTHING. Of course this was a ridiculous pipe dream, but my appetite for repertoire focused my attention and motivated me to practise diligently and enjoyably virtually every day. But when I co-founded the London Piano Meetup Group and started meeting other pianists, I rubbed pianistic shoulders with people whom I perceived as “better” than me – because they were playing repertoire which I believed I could not play. This depressed me and the mantra “I can’t play that” began to haunt my practising and my participation in the Meetup group’s regular performance platforms. I grew increasingly envious of, and irritated by the people who knocked off Ravel’s Jeux d’eau or Grainger’s Molly on the Shore with apparent ease, not to mention countless other pieces which I aspired to play…..

But hindsight and experience have taught me the power of “yet” – that simple three-letter word which can turn a negative phrase into something positive and affirming:

“I can’t play that – yet”

“Yet” turns the task into a challenge and is the spur to set to and practise, to strive, to master.

“Yet” makes that Beethoven Sonata or Rachmaninov Étude-Tableau achievable, with practise.

“Yet” turns the seemingly impossible into the possible

“Yet” is a declaration of intent