Why the Wrong Kind of Praise Could Heighten a Student's Fear of Failure

“If I didn’t have the harp, I wouldn’t be me.”Internationally renowned harpist Judy Loman remains an active practicer, performer, and teacher at 89 years of age - and still clearly enjoys and loves what she does.So how does one maintain motivation and a sense of joy in making music through life’s ups and downs, good and bad practice days, and peak and not-so-peak performances?In this episode, you’ll hear the five pieces of advice she would offer to an aspiring harpist (they’re applicable to singers and other musicians too), learn how to approach pieces that you might not like, and find out the two things she would do if she had only 20 minutes to practice today.Get the full transcript and watch the video version of the full interview right here:Judy Loman: On the Best Advice For an Aspiring Harpist (or Musician)* * *Want to perform up to your full abilities more consistently? Learn how with evidence-based strategies that will accelerate your learning, help you manage nerves, focus, and play more confidently. Check out the live online mental skills “Essentials” course which begins July 22nd, 2025: bulletproofmusician.com/essentials

We learned last week that having more to say expressively with the music we’re playing could increase the likelihood of experiencing more flow states in performance (here, in case you missed it). But this study looked at a bunch of different strategies and classes that were spread out over 6 months.Are there faster ways to help students play more expressively?Like, what about the sorts of things that our teachers did for us when we were students? Like demonstrating certain passages in lessons, so we’d have a clearer model to aim for (or having us listen to recordings, or encouraging us to go to concerts).Or using metaphors or images to help us understand the mood or character of a particular moment more clearly.Or simply telling us what to do - like explaining how short the dots should be, or where exactly the accelerando should start, etc.Well, lucky for us, a 2006 study compared these strategies to see if they worked - and if any of them was more effective than the others.Get all the nerdy details (and musical examples and links to additional resources and related podcast episodes not included in the audio version) here:A Comparison of Three Approaches to Teaching Expressiveness* * *Want to perform up to your full abilities more consistently? Learn how with evidence-based strategies that will accelerate your learning, help you manage nerves, focus, and play more confidently. Check out the live online mental skills “Essentials” course which begins July 22nd, 2025: bulletproofmusician.com/essentials

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* * *Want to perform up to your full abilities more consistently? Learn how with evidence-based strategies that will accelerate your learning, help you manage nerves, focus, and play more confidently. Check out the live online mental skills “Essentials” course which begins July 22nd, 2025: bulletproofmusician.com/essentials

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?* * *Want to perform up to your full abilities more consistently? Learn how with evidence-based strategies that will accelerate your learning, help you manage nerves, focus, and play more confidently. Check out the live online mental skills “Essentials” course which begins July 22nd, 2025: bulletproofmusician.com/essentials

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?* * *Want to perform up to your full abilities more consistently? Learn how with evidence-based strategies that will accelerate your learning, help you manage nerves, focus, and play more confidently. Check out the live online mental skills “Essentials” course which begins July 22nd, 2025: bulletproofmusician.com/essentials

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 influencesWhat effective practice really means (and looks like)How Yumi balances competing demands and sets practice goals and intentionsWhen is something good enough, and it’s time to move on?Biggest takeaways from her studies in the University of Pennsylvania’s positive psychology programSelf-compassion, positive teaching, overcoming negative self-talkIdentity and habit formationYumi’s experience with performance anxiety and how she learned to get past this in the early part of her careerDealing with shaky bowWhat 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* * *Want to perform up to your full abilities more consistently? Learn how with evidence-based strategies that will accelerate your learning, help you manage nerves, focus, and play more confidently. Check out the live online mental skills “Essentials” course which begins July 22nd, 2025: bulletproofmusician.com/essentials

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* * *Want to perform up to your full abilities more consistently? Learn how with evidence-based strategies that will accelerate your learning, help you manage nerves, focus, and play more confidently. Check out the live online mental skills “Essentials” course which begins July 22nd, 2025: bulletproofmusician.com/essentials

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)* * *Want to perform up to your full abilities more consistently? Learn how with evidence-based strategies that will accelerate your learning, help you manage nerves, focus, and play more confidently. Check out the live online mental skills “Essentials” course which begins July 22nd, 2025: bulletproofmusician.com/essentials

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* * *Want to perform up to your full abilities more consistently? Learn how with evidence-based strategies that will accelerate your learning, help you manage nerves, focus, and play more confidently. Check out the live online mental skills “Essentials” course which begins July 22nd, 2025: bulletproofmusician.com/essentials

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* * *Want to perform up to your full abilities more consistently? Learn how with evidence-based strategies that will accelerate your learning, help you manage nerves, focus, and play more confidently. Check out the live online mental skills “Essentials” course which begins July 22nd, 2025: bulletproofmusician.com/essentials