You know those really good days on stage? Where you’re totally present and in the moment, at one with your instrument, locked in on the music, not worried at all about what anyone might think, and just have this feeling that everything is going to work out, because playing just feels so easy and effortless?

Would be nice if we could have more of those kinds of days, no? 😅

Are these good days a function of simply practicing more? And making sure our technique is totally secure and solid so we have total confidence in our ability to play accurately and consistently? Or could it be that there’s something more involved?

Get all the nerdy details and learn more about the aspect of practice that could enhance your ability to get into flow states in performance:

The Overlooked Skill That Could Make Performing More Enjoyable

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Effective practicers tend to be more motivated, empowered, and persistent, whereas less effective practicers tend to feel more helpless and lower self-efficacy.

But what do they actually do differently?

One of the big differences between better and worse practicers in a 2021 study was the time spent in "non-playing" practice activities. Like, those periods between the playing and repetitions where our fingers aren't moving and making sounds come out of our instruments. 

And what exactly is happening in those quiet moments? Get all the nerdy details  in this week's episode, with links to additional resources here if you'd like to explore this further:

How Do Effective Practicers Make the Most of Their Practice Time?

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You're probably heard the quote "Genius is 1 percent inspiration and 99 percent perspiration."

But what do you think? 

Both play some role of course, but which do you think is more important for achieving success - innate ability or effortful training?

What would you say if I said that you might be fooling yourself? Where even if you think that you believe effort and training to be more important, deep down, you might actually favor natural ability over hard work?

Are we all biased against effort without realizing it?

Get all the nerdy details here:

Do We Unconsciously Favor Talent Over Effort?

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Cellist Yumi Kendall has been the assistant principal cellist of the Philadelphia Orchestra since 2004, serves on the faculty of the Curtis Institute of Music, co-hosts the Tacet No More podcast with bassist Joseph Conyers, and is a graduate of the University of Pennsylvania’s Master of Applied Positive Psychology program.

In this episode, we explore…

• Yumi’s early musical influences
• What effective practice really means (and looks like)
• How Yumi balances competing demands and sets practice goals and intentions
• When is something good enough, and it’s time to move on?
• Biggest takeaways from her studies in the University of Pennsylvania’s positive psychology program
• Self-compassion, positive teaching, overcoming negative self-talk
• Identity and habit formation
• Yumi’s experience with performance anxiety and how she learned to get past this in the early part of her career
• Dealing with shaky bow
• What change would she love to see in the music industry?

For the complete transcript and other notes and links, visit:

Cellist Yumi Kendall: On Becoming a More Positive (And Effective) Practicer

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We all have a voice in our head, that can sometimes get pretty loud and awfully critical.

Ever wonder where this voice and all that negativity comes from? And why it can suddenly become more critical at certain times more than others?

A 1990 study provides some intriguing clues!

Get all the nerdy details right here:

How to Keep Your Inner Critic From Getting the Better of You

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There's a famous quote attributed to Heifetz (or any number of different folks) - that if I don't practice one day, I know it; two days, the critics know it; three days, the public knows it.

So does that mean that we can't afford to take any days off, if we're truly serious about our craft? And what does it mean if we start to feel burned out and stale?

Well...it could be my imagination, but I swear I once saw a video in which Heifetz said that he always took one day off from practicing a week. And I've heard a number of well-known musicians encourage students to take a day, or at least 24 hours off every week. 

So maybe it doesn't have to be "all gas, no brakes?"

Get all the nerdy details here:

Pre-Performance Apathy (and the Importance of Mentally Disengaging From Practice)

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Ever wonder why it's so difficult to do the same thing twice, in exactly the same way?

Like the same exact crescendo or the same exact speed of vibrato?

Do we just need to practice more? Or is there something else involved?

Turns out our brain isn't wired for this kind of consistency. But that's actually a good thing! And it has some interesting implications on how we ought to approach practicing too.

Get all the nerdy details here:

Your Brain Isn’t Built for Consistency - Here’s How to Make That Work for You

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• Get the free weekly newsletter, for more nerdy details and bonus subscriber-only content.
• Pressure Proof: A free 7-day performance practice crash course that will help you shrink the gap between the practice room and the stage.
• Learning Lab: A continuing education community where musicians and learners are putting research into practice.
• Live and self-paced courses

I think the last couple decades have seen a growing change in the music community, where there's a greater openness to talking about nerves and certain mental health struggles. But one area that isn't yet being talked about so much is trauma.

What is trauma? What "counts" and what doesn't? How does this happen? How does it affect us? How can we know if a student has experienced trauma? Could we unintentionally (and unknowingly) be causing trauma?

To better understand trauma and its intersection with performance, I spoke with Dr. Mitch Abrams - a forensic and sport psychologist who shares insights on how trauma shows up, and what steps we can begin to take towards healing.

Get a full transcript and all the nerdy details here:

Mitch Abrams: On Trauma and High-Level Performance

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When it comes to motivating students, musicians, or even ourselves, we all wonder: is it better to reward effort — or call out mistakes? It turns out, both approaches can work… but they lead to very different kinds of learning.

Get all the nerdy details here:

Reward vs. Punishment: Which Leads to Faster Learning?

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• Pressure Proof: A free 7-day performance practice crash course that will help you shrink the gap between the practice room and the stage.
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• Live and self-paced courses

It's hard to be a parent and not worry about one's kids. Especially when it comes to public performances, competitions, or auditions, whether big or small.

But doesn't it feel like sometimes a parents' worry is contagious? Where their stress or worry rubs off on their child, and the kid starts worrying or feeling more pressure as the performance approaches too?

The answer is not to tell your students' parents to chill out and stop worrying, of course. Because that's not likely to happen no matter what you say! 😅

But the research suggests that there are better or more productive ways to worry. So if a parent is going to worry, they might as well worry the right way.

Wait...what? There are better and worse ways to worry?

Get all the nerdy details in today's episode. References available here:

One Way Parents Can Help Their Kids Be Less Anxious

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• Get the free weekly newsletter, for more nerdy details and bonus subscriber-only content.
• Pressure Proof: A free 7-day performance practice crash course that will help you shrink the gap between the practice room and the stage.
• Learning Lab: A continuing education community where musicians and learners are putting research into practice.
• Live and self-paced courses