Latest Performing Planning and Goals Podcast Practice

How to Stop Suspicious and Start Presentation by Brent Vaartstra

Ever needed to get there and begin performing? Perhaps a solo at night time, perhaps participating in an area blues jam, perhaps beginning or joining a band – and even going out and paying for stay exhibits.

In that case, you might have discovered your self many of us doing: our expertise are empty, but we aren’t but prepared. Emotionally, mentally, psychologically, we now have just some type of barrier that forestalls us from eating.

On the show as we speak we’ve a returning visitor, our pal Brent Vaartstra Study Jazz Requirements and his new performance.

When Brent was with us earlier, we principally talked about jazz and improvisations, however at the moment we needed to dig something totally different with him: what it’s to be a gig. From practical issues to a juicy mind-set that may make a distinction if you end up sitting alone at house while training yourself elsewhere in your life – and getting there and sharing your music all over the world in many various musical situations

Brent shares some really helpful insights and worthwhile ideas, together with:

  • thing before a session or gig
  • How to cope with a brand new and scary performance, particularly an introvert
  • And we are talking about "Imposter syndrome" – the psychological phenomenon through which you’re continually fearful once you come to deception – even in the event you have been ok for it, What you do – and Brent shares his six ideas to overcome it.

We liked this opportunity to reap the benefits of Brent's experience and knowledge over the world of jazz, and we know that one can find beneficial stuff right here, especially for those who run a part of your musical life – or you want it!

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Brent: This is Brent Vaartstra, who has discovered Jazz requirements and passive music, and that is the Musicality Podcast.

Christopher: Welcome to the show, Brent. Thank you for joining us at this time.

Brent: Thank you for getting me, Christopher. Excited to be right here.

Christopher: Yeah, I ought to say welcome back to the show since you are one of the few who’re returning friends on the show. I’ve a psychic to get you again.

Brent: Thanks for getting me again. I was frightened that you simply wouldn't ask me again.

Christopher: Properly, it was your new podcast, a podcast of passive revenue music, these days, which prompted me to attain and get you back to the present because you have been talking about something tremendous fascinating that we're going to cover later, but before we dive into every thing if individuals have not heard of a previous interview with Musicality Podcast, can you give them a nutshell abstract of who’s Brent Vaartstra and what are you?

Brent: Sure. So I’m a music instructor. Particularly, I'm a jazz educator. I have a jazz coaching website referred to as, and most individuals know me. I reside here in New York and I mess around some gigs, however, I, I write books, I'm podcasts, the manufacturing of the training pictures. I’m a web-based instructor. So it's my most essential gig. I also have a more moderen podcast referred to as "Passive Income Musician Podcast", which is principally in the sense that I only have the eagerness to train other musicians how to make reside music online like me, so I share all the hints and tips there

Christopher: That's sensible performance and listened, and it made me understand that the final time you have been, we talked lots about jazz and repentance and ear training and we acquired a implausible conversation on all this stuff, but I feel we barely dealt with being a performer and you referred to this and you talked about actually fascinating things within the new present that made me need you back and speak about it especially because I know that lots of people who pay attention to or watch this podcast are at a time once they've acquired fairly good instruments, you understand that know-how and the power has reached the point n average for a lot of of them, but in lots of instances they are still quite nervous to go out and perform for any cause, in order that they will not be guffawing even when they have technical snippets.

They could have all the time needed to be a part of the band or get some paid gigs, but they haven't really made this leap, and you recognize that we love this present to speak concerning the inner expertise and psychology of music, a assured and expressive musician, and needed simply convey you – "New York gig musician" – a hat because it was, speak a bit of about this, and especially what it takes to go there and perform in the best way you do, perhaps somebody who’s just enjoying at house would not have discovered to do?

Brent: Yeah. I mean, to start with, I feel it's simply essential to take into consideration what situations this may happen? Like, in fact, jazz shouts are one thing that’s really great in the jazz world, so there are plenty of them. Perhaps it's an open microphone for you and you already know you're considering of going and performing some of your unique music and wanting to go to an open microphone.

Perhaps you've listened to a rock band or it could possibly be in any state of affairs, and I feel in the long run what we're speaking about is a social musical state of affairs the place it's not just a sensible room. It's going out and being with others and creating music with others, which I feel is finally the best way music must be. It ought to be a social matter. It shouldn't be something we just maintain in our room and only in follow. We would like to exit and we would like to play, whether or not it's gigging, for me, gigging means being profitable in return for playing in your providers or it's just a blockade where you possibly can go free of charge and simply networking and enjoying for other musicians

It could possibly be a blues session It could possibly be a jazz jam, it could possibly be anything. It could possibly be an Irish people music help session, proper? No matter what sort of music you're really serious about. And of course, for all these totally different types, the very first place you want to begin is to be sure to know the music, right?

perhaps it means it’s your decision to, particularly for those who feel somewhat nervous, perhaps you actually need to go to that jam session or perhaps you need to go to a specific place you want to get on the gig and watch someone else who does it, perhaps, let's use blues for instance -hill, okay? So that you may go to the blues jam and perhaps sit there and you gained't go there to play first. You're simply going there to observe. What kind of songs are there? Perhaps I should study a few of these songs. Perhaps there are lots of songs you don't know, so chances are you’ll really feel extra snug in the event you really feel more ready. I feel there are lots of nerves which might be sudden, don't actually know in the event that they're prepared for the state of affairs.

So you recognize that figuring out music is necessary. So it might be one thing to take into consideration, you already know, go in and sit down and be flying on the wall, see what happens. Comply with how musicians interact with one another. Again, this can be a state of affliction. So you realize the music, simply, and it goes together with the opposite level you simply do, to do your homework. Accept that if this jam session or this open microphone is displayed and you haven’t finished your homework, you haven’t hung out engaged on the instrument that you recognize you is perhaps conscious that you could be be disrespectful to a number of the musicians who stay there doing their homework.

And I do not mean that you simply or somebody who thinks, threatening: "I do not know if I'm good enough for playing music," I don’t need anybody to worry about it, but you simply have to ask yourself: "I’ve completed my homework? “It doesn't imply I have to attain a sure degree within the music relationship, it just means you’ve got to decide yourself and say,“ Hey, can I play these songs with these individuals? “When you don't feel like you are able to do it, perhaps you shouldn't go to jam and play.

Have you learnt that it isn’t a club-like mentality. It's simply saying, “Hey, these are simply the fundamentals. Just know a number of the tunes. Ensure you are ready to perform these texts technically and perhaps just sit back and watch what occurs. Does it sound so good?

Christopher: Yeah. Incredible. And I feel you touched something that was within the thoughts, and that the musicians could be fun… Like musicians usually are not all the time so friendly! And I do know I had the first time I went by means of a blockade session, I'm not going to go there and simply watch, but I simply went there and watch because they have been all so relaxed. They talked, they exchanged bullying, tempted one another.

I felt very marginalized and intimidated because it was simply, it was outdoors my consolation zone and I’m wondering when you might converse somewhat extra about such a social favor, assuming that the music was okay, what do you have to be prepared for? If we take two contexts, perhaps one is an area blues jam, but the different is a paid gig at which you’re invited at the last minute to sit with the band. Are there any indications you can give or examples you could give from your personal expertise, how to cope with it in case you are not used to doing it in every week, week, out?

Brent: Yeah. To begin with, I just observed that musicians are a number of the most unsure people who have ever acquired a planet. They’re as you realize, they worry you greater than you’re afraid of them, virtually a sort of state of affairs and you recognize that this is only a primary conduct. It doesn't simply occur in music, however you see this enjoying in reside appearances where everyone walks on the door with their ego and perhaps there's a brand new guy and they don't need to invite them in. Perhaps they need to stay with their little, little clicks, their little, you already know, the band they've put together. You realize, and so there are all types of strange social dynamics, as you will have identified, going into stay appearances.

The most important tip is to be your self, be trustworthy about who you’re and some might offer you ideas otherwise about, you understand how to be hip, how to be, you understand how, the best things to say, perhaps you must, have you learnt in case you are introvert No, you’ve gotten to be an extrovert and I don't assume it's actually what you win in any case. I feel it’s a gig, whether or not it's a stage session, no matter what the social musical state of affairs is, just be loyal to yourself, be trustworthy with yourself.

You don't have to be somebody you are not. In case you are not somebody who likes to speak to everybody and you recognize you have got a bit speak to see in the event you might gather one other gig with one other individual and "Hey, man, give me your phone number" and "Hey, let's hang out for a while" if it feels improper

assume that it’s the greatest method to really feel snug by going to such situations, however simply to show others that you’re real and individuals see that folks need to play the gig in case you are real. pretend, individuals know that they see it via. In case you are going to be a pretend, you’d be better to be a very superb musician who’s simply as extremely gifted as I am not, you’ve to, you realize, you could have to, individuals invite you it doesn’t matter what know what i say so i feel when i’m going to these conditions, you’ll be able to chill out, don't take it so critically. I feel I'm going to do exactly that, I mean, you're going to set your self up for fulfillment in the long run.

Christopher: Terrible, and you spoke there a bit of about getting ready your self musically, and, as you stated, we don't want individuals to really feel the necessity for rock strong, good perfection earlier than they ever step out …

Brent: Yes .

Christopher:… however once I assume it's the first time it's actually exhausting to know where this degree is. Do you’ve instructions on how to understand how good is sweet enough?

Brent: It's coming and just going, whether it is, we'll return to the session of the session, just by going and checking it for a second time, and really, actually evaluating, like: "Oh" –

Christopher: I see it.

Brent: – yeah. Completely. Absolutely and without, like: "I'm going to be, I have to be as good as the people who play." And often in jam periods, otherwise, what jam is, there are levels, quite a lot of talent ranges, so I don't assume it's essentially worrying. I feel it's simply simply consider them basic items, of which I spoke, make it possible for if you find yourself going there, I feel, why do I say that I have seen some people who might not know, and they’re displayed, and they’re actually unable to play, and if it's you , perhaps you need to assume, "Okay, there are a few things I need to get together before I go in," you already know?

Perhaps in the event you really don't know the songs that you simply shouldn't go up and play on them, right? You realize, so it seems obvious, however then once more I've seen individuals who know, don’t perceive that that is social, you realize, will not be socially acceptable. All the others are conversant in the songs, everyone else has been working towards and then for those who go up and you haven't finished your homework, proper that just makes the entire recreation a lot fun.

So I don't assume it's attainable to measure. It’s truly a low barrier to market entry. Can I do what I see occur, I can't be the most effective in it, I'm not one of the best, it's just. It's just, it's not, don't let it scare you, but you understand it's just these fundamentals, I feel you’ve gotten to be together.

Christopher: Great. And another little painful state of affairs that I have seen, is that someone, which I feel goes too far within the course of the preparation, go up on stage and perform their share, but plainly they don’t have a clue that there are different individuals on stage with them. They're out of their very own world. Might you speak a bit about what individuals can do to move from the gaming world to yourself or the background to the truth that they’re now surrounded by other individuals who make music with you.

Brent: Yes. And this can be a really essential factor we are talking about right here, and that is extra a few skilled musician or more considering. How to do it, and this is what I all the time say to everyone when it comes to enjoying with others and particularly should you do this for work, it's not about you. It isn’t about how properly you play. We should always do our utmost to maintain the ego on the door. If you rise up and play a gig and run it, how can I serve music in the absolute best approach? What makes the band the most effective for everybody's voice?

I give an instance that isn’t within the gig state of affairs. It's actually a blockade. This was, I do not know, six or seven years ago, and I was in Manhattan mitigation occurring, and I obtained to play and I'm guitarist and there was a piano participant and 5 horn players and there was, as you realize, everybody enjoying this music, and you already know, that I needed to proceed enjoying all the time. I needed to maintain comping and all of the sudden, that’s, the piano player began to play and there was my own world. I was just comping, I was simply doing my thing, I assumed I used to be all cool, and then I was doing cool things, and the piano player dug it and all of a sudden I hear the piano player shouting at me.

She's like, "Hey, stop!" And you already know I was like "Aagh!" And then I noticed, yes, what I used to be doing, I used to be stepping on the piano player's toes, have you learnt? I crammed in all these chords and you recognize the piano participant's chords. It sounded simply muddy. So it will have been a good suggestion to overlook what I play and pay attention to, how can I serve music? How can I make music the most effective? How can I make different band members really good? If all of the band members assume so, if everybody thinks, “Hey, how can I make Brent good? How can I sound like Karen? How can I make Christopher good? “If we do every thing, I don't know where Karen got here from. I simply stated my identify and identify, but Karen, Karen. He's enjoying bass, right? How can I make all of them sound good? And in the event that they assume the same about you, man, you’re going to be great, I imply, I have had musical experiences on the finish of it, like, "I didn't even know this was possible. Similarly, we went to some other dimension that I didn't even know. I didn't know I had that talent. "

I didn't know we might, as it have been, our mind simply went, (by clicking) collectively and the music got here out and you already know it when it occurs and when it happens, it’s the most magical expertise, and I feel music wins us so so much. It’s, you already know, there are dips and downs, and it's an emotional curler coaster, but the purpose we're all going is that we keep in mind the moments the place it was, just like the cloud 9. I didn't even know. It exceeded alternatives. So, sure, you possibly can go to the gig, and particularly because of the gig I feel that is necessary, you possibly can go to the gig and you realize you're prepared and you play the best new sounds in your gadget. You could have discovered and ignored the fact that you’re enjoying other musicians, but should you put every little thing on the web page and that you simply serve-the-music-first mentality, oh man, some magical stuff can really occur. [19659003] Christopher: Terrific. I really like that. I really like what you described, and you touched on such a movement state of affairs, there, at the end, which is the polar opposite that you’d be out of your personal world, just enjoying a robot. I just talked about this week with Andrew Musical U group. We are creating a brand new module that plays with expression and we get the sensation that we really play what you plan to play and play it musically, and I don't assume we've really studied the co-operation that you simply play with other musicians and clicks and loves the best way you talked about it As a result of I feel it evokes individuals to rise and curb, isn't it? It’s that being collectively is a band that appears as one.

Brent: Sure, yes. Music is a communal experience, right? It is one thing that isn’t fairly good if it is just itself or if it has not been performed no less than by another person. There's all the time a lacking a part of it. All this factor we are talking about is essential. It's essential to speak about how we do ourselves, you realize? How we cope with all these things as a result of it could lead to an incredible musical experience. It will probably lead to evil.

Christopher: So one factor individuals may think about is how much it means, what kind of mitigation occasion they’re going by way of. Like, you’ve got clearly emphasised that a specific performance state of affairs is an enormous part of what you need to know and how you want to prepare. But might you speak just a little, particularly jazz, as a result of it's your domain? What can be totally different from a jazz gig, a rock gig?

Brent: Yeah, I feel jazz has a approach jazz works like yeah, there are bands. Like humans, they type a band and play collectively, but the gigs in the jazz world are a number of what we name "relaxed," so, like, it may well just be enjoying in the bar. It could possibly simply be within the restaurant. It might simply play someone's cocktail hours for a marriage, you realize, or it might be a enterprise thing.

I imply, there are so many various things a jazz musician might do as a result of it has been seen as extra background music that contributes to it, so a social environment with jazz is plenty of totally different musicians you play collectively so you recognize I may need The gig I received, and you already know it's going to be this occasion, and I might say, 'Properly, okay, the finances is for 3 individuals. I select this individual's bass, this individual's piano and this individual's saxophone, ”proper? So I might think of it so and it might just be a random number of musicians I would like to play. Jazz is certainly extra network-part of

Once we think of rock music, I can solely speak about a lot, that I am concerned in the rock scene, but once we think of rock music, we expect more band-culture, extra real afraid of the teams, and I performed in rock bands before and the place you already know that you simply look every week and work with each other particularly, and that is more of a state of affairs the place you actually know individuals's personalities and how they behave. You develop into a family as a lot as you permit it to come and so you have got to study, identical to all families, how to reconcile one another, how to cope with human inconsistencies, so you understand they are the same factor. I just assume there are extra totally different choices on the jazz scene whenever you're simply shifting on to different individuals and if you need to have gigs in networking in the jazz world, it's particularly essential when the more individuals you meet, the extra individuals you play, the extra Individuals make a constructive connection to the more probably they could assume you’re calling a gig.

Christopher: Unbelievable. And you shared one really nice concept there, by yourself journey, where you realized which you can't just be out of your personal world by enjoying all the time.

Brent: Proper.

Christopher: In a method, the moments of enlightenment along the best way where you have been, like: "Oh, I get how this works now."

Brent: Man, there are so many totally different moments. I feel I don't know if the moments once I was so confused that you already know, or properly, there were moments once I received really embarrassed. Similarly, there have been occasions once I didn't do my homework, and I showed the gig, and I couldn't play this music nicely, and I confused myself and I say that the homework is essential. You understand, it is best to do your homework, be sure to can perform the music yourself. It does not imply that you’ve to be the perfect music ever, but in the event you take a look at a gig or even a jam session and you aren’t prepared and I’ve had moments once I was there I was sweating bullets and I felt ashamed because I didn't sit down and did work for it. So I have no idea if I’ve any, like, very particular experiences, like some other small implementations here and there, which is sort of the rationale why I made these little ideas that I give, there’s little mini experience, reminiscent of: "Oh, the piano-player cried me. It's not good, ”or“ I didn't know the music well. It's not very good, ”You recognize that you simply study sure things about your self and what you want to enhance if you go along.

Christopher: Some other small tidbit or encouragement or advice for people who watch or pay attention? 19659003] Brent: Yes. Yeah. Let go. I have had a lot of people, particularly, I’ve a course referred to as "thirty steps to better jazz play", where I have a gaggle of scholars locally and lots of people, one question we ask at first of this course we’ve got this objective that you simply complete for the course and the primary question is: "What is change?" and many individuals change their modifications, "I want to finally be able to go into this jazz jam," and it's an ideal change and the issues they do on this course are things that assist them study music that helps Make them do their homework to get them ready to do it, however on the similar time, if you attain this point, even a bit of, go do it. Then the precise training happens once we get there and actually do it. You understand that you don’t have anything you’ll be able to truly study in a sensible room. You’ve got to go there and play, and the actual coaching begins. I walked on the cliff climbing this past week, properly, simply climbing, I and my spouse and the opposite couple, and you realize I'm working. I like it. I felt like "I have no problem with this." The subsequent day there have been muscle tissues that have been painful I had no concept even present in my body and it also happens if you exit to perform. There are specific muscle mass that you simply didn’t know that you simply need to work and you’ll be able to't study it in a practical room. So simply go do it. Rise up there, eliminate these fears and dive in.

Christopher: Incredible, yeah, otherwise. I might urge everybody to attempt it, however don't assume adverse or discouraging, but once we spoke earlier on this dialogue, it was clear that the sport has an ideal psychological issue and even in case you have completed your homework, and even when you feel socially, you’ve got to get previous when it's time to really step in there and appear there may be slightly voice on your head saying, "You didn't do enough homework," or "You're not good enough for this gig," and so I liked the episode of the passive revenue music podcast you speak about such inner criticism and self-doubtful voice . Might you speak about it in somewhat extra element?

Brent: Yes, and this can be a good factor, as a result of I feel that I feel enjoying or even enjoying music is greater than 50% psychological and this can be a massive deal, and I feel all musicians can be a part of this concept that they don't really feel they don’t seem to be ok. You realize, sure, the stage is afraid, however even at the stage of worry, just literally feeling anxious and, as you understand, every musician has gone via, together with myself, and the passive arrival of my music in the podcast I actually talked about music entrepreneurship and a part of what I call Impostor syndrome , and all this stuff are immediately related to the efficiency of music, so to struggle that we actually have to start altering the mind-set, and that is one thing I'm not going to claim to dominate, but I feel I can share the issues I do and use actively because in the long run it’s the only means to get here is to transfer your mindset. Permit me to go, you realize, it must be a bit methodical. I'll go over six clues and ask questions freely.

Christopher: Perhaps simply before we dive, we'll all be very clear about Impostor syndrome, as well as more obscure, basic descriptions of self-doubt and such a thing.

Brent: Yes. Impostor syndrome is once you come to a selected, all sort of state of affairs and you are feeling that you don’t belong to you that you are not qualified enough, you are not ok, you already know, you possibly can go to a gig or jail and there are musicians who know that a number of levels in your thoughts are higher than you, you’ve gotten extra talent levels, and the sensation that you simply get, if you end up in that state of affairs and you are feeling virtually confused, really feel afraid, you’re nervous concerning the prevalence as a result of a lot of it is related to your social nervousness, primarily what individuals take into consideration you. It's truly principally what Impostor syndrome is.

Christopher: A cool, and I simply say very instantly, as I’ve 100 per cent felt this. I feel every musician or music instructor I talked to has recognized for a while. This is not just for freshmen or for people who don't have what it needs.

Brent: Sure.

Christopher: This is one thing we all go through sooner or later, it looks like we’re inferior to individuals anticipate us to be. So, Brent, dive into six clues, because I know how priceless that is to individuals.

Brent: Yes, completely. Completely. Joten ensimmäinen, numero yksi, on useless muistuttaa itseäsi pätevyydestänne ja se ei välttämättä tarkoita sitä, että sinulla on oltava todella hyvä luettelo tutkinnoista. Se tarkoittaa vain sitä, että muistutat itseäsi kaikesta, mitä sinusta tuntuu, tekee sinut päteväksi olemaan siinä keikassa

Jos tarkoitat keikkaa, se tarkoittaa, että olet jo jonkin verran pätevä. Sinun ei olisi pyydetty keikkaa, jos sitä ei olisi. Et olisi juuri saanut keikkaa itse, jos se tarkoittaisi, että et olisi lainkaan pätevä. Sinulla on jonkin verran pätevyyttä. Ehkä se voisi useless muistuttaa itseäsi yhdestä suuresta suorituskyvystä, joka sinulla oli aiemmin. Ehkä se voisi tietää, mitä sinä olet oikeutettu.

Ehkä se on jotain, mitä olet todella saavuttanut, kuten tiedätte, ehkä olet saanut uuden opiskelijan ja opetat jotakin musiikkia niin, miksi, jos voit opettaa jonkun musiikkia, miksi et voi mennä ulos ja tehdä sitä? Tiedät mitä tarkoitan? Joten se on hyvä lähtökohta. Number one is just, remind your self of what your actual qualifications are, whether they’re massive, whether or not they’re small, there’s one thing. There’s something there.

Christopher: Yeah, I really like that you simply’ve broadened it, past, sort of, official qualifications. I feel anybody who’s watched or listened to this present for awhile is aware of we don’t low cost the worth of, say, exam grades in an instrument however really what being musical is all about and being a great musician is all about isn’t something you get a certificates for. So I really like that you simply’ve clarified that qualifications simply means something that demonstrates you’re of the usual expected.

Brent: Yeah. It doesn’t have to be, “I’ve got a bachelor’s degree.” It doesn’t have to be, “I wrote a book.” It doesn’t have to be, I did this or I did that or I received an award. None of that. It simply has to be something that makes you certified, even when it’s small, okay?

Quantity two is simply to remind your self of why you play music and that is one thing that I do typically as I’m taking the practice or, I have a automotive now, so the silly New Yorker who buys a automotive driving to the gig and I’m making an attempt to assume to myself, “What am I trying to do when I play this gig? Why do I play music in the first place?” I play music because of those moments I used to be talking about earlier, those cloud 9 moments the place every part’s occurring and these moments give me numerous joy. The creativity that I get from music, I might not have gone this far in my music schooling if I didn’t love music so my aim once I’m going to a gig is, I’m considering to myself, “Why am I doing this gig? Why am I going to this jam session?” I’m going to have enjoyable and if at any level it becomes not fun and meaning I’m clearly off monitor somewhere so my aim is to go to a gig and have some nice moment that I may be, like, wow. I can point back to that and be, like, “That was a great moment where I did that one thing. That was cool. I had a lot of fun doing that.”

As soon because it’s not fun, I don’t know for those who’re knowledgeable musician like me, then it’s not value it anymore. So that’s quantity two, is just to remind your self of why you play music.

Quantity three is just to be trustworthy with your self about the place you’re at, okay? Simply be trustworthy and with yourself and with others. You don’t have to fake to be a talent degree that you simply’re not. One thing that a mentor of mine informed me as soon as, is, “Brent, just play from where you’re at and be cool with that.” Right? He didn’t imply that you simply shouldn’t be enhancing. In fact he needed me to maintain enhancing but what he meant was that I used to be so anxious and overthinking and overinvolved and just, I would like to be, I do know what I should sound like and I know I’m not there but so I’m not completely satisfied however I feel it’s necessary to just be trustworthy with your self. “This is where I’m at. This is where I’m at in my playing and it’s okay because, it’s like, it’s this growth mindset of, “I’m always going to be improving. There’s, I don’t have to be there tomorrow. I can be here today.”

So be trustworthy with yourself. Be trustworthy with other individuals. This is where the social stuff comes in. Don’t speak to your bandmates or individuals on the jam session as in case you’re, you realize, some huge stuff should you’re not. Just be okay. Be okay with who you’re musically, proper? In order that’s quantity three. Simply be trustworthy with yourself the place you’re at in your enjoying.

Brent: And quantity 4 is simply to maintain a document, remind your self of all the constructive feedback you’ve gotten. I feel typically we’re over-involved in excited about all the unfavourable issues that we inform ourselves or perhaps somebody has informed us one thing adverse. Perhaps there was some vibey jerk musician that stated something to us, like, “Hey, you’re not doing this very well,” and we tend to latch onto these issues and not all the constructive things that folks have stated.

So it’s a good suggestion just to remind yourself or maintain a report of those constructive moments, those constructive issues that you simply’ve felt you’ve executed and perhaps that others have stated to you.

Quantity 5 is to understand that mistakes don’t make you a failure. This is one I’ve heard you say before, Christopher. Mistakes don’t make you a failure. You can also make a mistake and no one’s going to die. There’s not, an earthquake shouldn’t be going to occur afterwards. A nationwide tragedy isn’t going to ensue. You simply performed a quote-end-quote, incorrect observe which in fact, if you need, you possibly can repair it to make it not even sound incorrect otherwise you simply have to play a bunch of different nice notes after that so that everyone else forgets about that mistaken observe. It doesn’t make you a failure. Even in the event you bomb a track and you possibly can’t even end the music and you could have to stroll off the stage and go residence and everyone’s watching you, you’re still not a failure, proper? It’s just a state of affairs you’ll be able to study from.

All this sound good up to now, Christopher?

Christopher: Yeah, absolutely. I just want to underline each of these final two because I feel that when individuals can really id with and, in my experience, it may be useful for individuals to know that for all of us one unfavourable remark takes about ten constructive comments to stability it out, proper? I feel I’ve heard you speak about that earlier than, Brent, about entrepreneurship and product feedback and that sort of factor.

You recognize, for no matter cause we take those unfavorable feedback to heart and we take these errors or those failures to heart so deeply and it genuinely does take an avalanche of constructive stuff to stability that out and so that you do need to be proactive about ensuring you give attention to the great, not the dangerous, because even when you’re getting much more constructive suggestions in the event you’re solely paying attention to the destructive it’s not going to really feel like it.

Brent: Yes. Yeah. Completely. Absolutely. The last one is, I assume we will name it a bonus you can try out and that is to maintain a journal, like, truly journal about your music performances, like, the way you truly felt and what went right, what went fallacious. This is one thing I picked up doing a bit of little bit of remedy is journaling. And at first I didn’t really assume it was going to be that helpful to me. It is helpful to truly get what’s in your head out on a bit of paper and so perhaps you can also make that a habit of just holding a journal after a gig and just, being, like, hey, how did that go? What occurred? And more importantly, what was your feeling? Because we’re making an attempt to change our mindset, here. We’re not making an attempt to write about, “Well, you need to practice your scales,” or “You need to practice your arpeggios,” whatever it’s. That’s not what we’re doing. We’re speaking about how did I truly feel about what happened, there? So these are a number of the issues that I do to deal with Impostor Syndrome.

Christopher: Large. I feel those are all highly effective ideas and I really like that you simply talked about journaling at the finish, there. If anybody listening or watching is a member of Musical U, you’ll know we’re all the time harping on our progress journal system the place we encourage you to submit updates every week or so and it’s because of the value of that objectivity, the power to step back and be, like, “Where was I six months ago? How did I feel about that before, and how do I feel about it now?” And until you seize it in writing we just have such a poor reminiscence for this type of thing, you already know, we keep in mind things mistaken or we don’t keep in mind the best things and, like we talked about before, the stability of constructive and damaging feedback can get completely out of whack in your reminiscence and you’re completely right, Brent, that that journaling thing might not come naturally to you. You may need to do it as a result of someone professional like Brent informed you it was a good suggestion but whenever you attempt it you shortly understand, “Oh, this is actually adding something to my self-awareness and my ability to be objective and see the opportunities that I never really had before when I was just all in my head.”

Bruce: Yeah, completely. 100 %. Yep.

Christopher: Fantastic. Properly, Brent, thank you so much for coming on. I sort of requested you to come on and drop the same value bomb on our present that you simply did on your own so I would like to make certain we wrap up by telling individuals where they will go if they want to know more about Study Jazz Requirements or your Passive Revenue Musician Podcast. Can you inform individuals what are the audiences for these two? How would they know that a type of was proper for them and where they will go to study more?

Brent: Yeah, completely. So, Study Jazz Standards, that’s my jazz schooling blog. In case you’re — weblog podcast videos. Should you’re considering studying about jazz, how to improvise, learning jazz repertoire, all that stuff, that’s where I really cover that stuff. You possibly can verify that out at and in the event you happen to be a musician who is considering entrepreneurship, I principally train how I make a leaving online by means of educating music via what I call passive revenue streams at or you’ll find it on iTunes for those who pay attention to your podcast there.

Christopher: Implausible. Thanks, Brent. Nicely, we’ll have all of those linked up within the show notes for this episode. I simply want to say thanks again for approaching the show because, I feel, I used to be type of kicking myself once I listened to that episode of your podcast being, like, “How did I miss this whole area of Brent’s wisdom when I interviewed him before?” And it’s one that is so essential and highly effective and front-of-mind for lots of our audience and our members at Musical U is this entire space of starting to perform and moving into that scene, whatever their local music scene is and I really like the best way you’ve talked about it at this time and the very sensible advice you’ve given both when it comes to the, sort of, elementary music preparation but in addition the psychology and the social facet so I do know that individuals are going to go away feeling a lot better outfitted both when it comes to method and preparation and when it comes to that, type of, impostor syndrome, voice of self-doubt, psychological self-coaching that we’d like to undergo to prepare for that first gig. So an enormous thanks for becoming a member of us again, Brent.

Brent: Thanks, Christopher. I recognize you having me on and it was a pleasure.

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