Confidence Commitment Concentration
Sometimes, and more frequently that you might imagine, my husband’s world (mountain-biking) and mine (music) intersect, with interesting results. At first sight, our respective passions could not be more different: he likes to hurl himself and his bike down the side of mountains, riding rough-shod (literally) over rocks and gnarly tree roots while I get my share of excitement out of playing the piano or hearing others play it in concert. How could there possibly be any connection between those two activities?
But a chance conversation between my husband, myself and two pianist/piano teaching friends over dinner recently revealed some noteworthy parallels between the world of the downhill mountain-biker and the performing pianist. In fact, there are many parallels between sportspeople and musicians, from the way we prepare for a race or a performance to the importance of listening to and taking care of our bodies (see The Musician as Sportsperson).
“Confidence Commitment Concentration” is a mantra my husband regularly repeats in relation to his cycling. In his world – and that of other sportspeople – Confidence is a key factor in propelling one down that vertiginous mountain track or round the running circuit. While negotiating a rocky descent there’s no time for self-doubt because a moment’s hesitation can lead to one to misjudge the line and ride into a tree, or worse. Confidence, and the ability to handle one’s bicycle or instrument adroitly, comes from practising and honing one’s technical skills. Assured technique then provides the firm foundation on which to build creativity and artistry. It also gives us the freedom and confidence to make snap decisions during performance and to prevent small slips or errors from distracting us or pulling us off course.
Commitment – so you’re barrelling down that alpine track and there’s a jump ahead. You can’t apply the brakes because you need the right speed to propel you over the jump. Now is the time to commit – don’t hold back and don’t be tentative. In a musical performance, we commit from the moment we start playing. At that point there is no going back – the first notes have sounded and we must play with commitment to offer our audience a convincing performance. Commitment also means playing fluently and not allowing errors or slips to distract us. And just as a moment’s hesitation on the mountain track could lead to an accident, tentative playing may hint at lack of confidence which might make our audience uneasy for the rest of the performance. Of course piano playing is not nearly as hazardous as downhill mountainbiking (I know this because my husband is a fairly frequent visitor to the A&E department at our local hospital), but a metaphoric accident during a performance can do serious damage to our confidence and self-esteem which may harm future performances.
Concentration – sounds obvious, doesn’t it? Of course you need to concentrate, but our concentration can easily be disturbed which can then disrupt or sabotage a performance. My husband cites things like “your mates standing at the side of the track taking photos or yelling at you“. In a musical performance, external factors such as a member of the audience coughing or rustling their programme can interrupt our concentration, in addition to internal issues such as the negative voice of the inner critic. Concentration can be trained to such a degree that we can accept external interruptions without affecting our performance – see my earlier post Mind Games for more on concentration.
Taken all together, The Three C’s can lead to a performance – musical or sporting – that is fluent, convincing and successful.
If you get one of The Three Cs wrong you can probably still pull it off, but if you get two of them wrong you’ll probably crash.