“It’s good to be a little nervous—it shows that you care.” Ah, the classic advice I received whenever I shared my fears about performing. While I agree that being a bit nervous is something that most people can completely relate to and that it indeed shows that you care, and can even present a bit of endearing humility, it was so much more than just being a little nervous. Each time I approached the stage, ready to perform a piece I had studied for months, a physiological reaction took over my body, reacting as though I was facing a mountain lion, not the piano keys. Cold, sweaty palms, a racing heart—a primal feeling of both paralysis and an urge to run at high speed—and a full-on existential crisis made it feel like survival mode, not showtime. It wasn’t about the amount of practice; it was about my body screaming, “Red Alert!!!” at the worst possible time. This physiological reaction, often dismissed as mere jitters, is a form of performance “stage fright” or music performance anxiety (MPA), a highly common condition that affects millions of performers and is often treated with anxiety medications like beta-blockers, which work by slowing down the heart and lowering blood pressure.

For years, I avoided competitions and dreaded recitals, thinking, “What’s the point?” Even if I practiced a ton, even if my piece was in perfect shape at home or in front of my family, surely the physiological reaction that I experienced every time I hit the stage would take over, and I’d mess up anyway. MPA was a hindrance to my development as a pianist and a huge confidence tanker. I thought I just had a problem with getting nervous, that I “cared too much,” and I assumed that this was an innate characteristic that I could not change and would have to live with forever. It was a profound contradiction for me—on one hand, I deeply wanted to share the music I could create with others in venues like airports, shopping malls, recitals, competitions, nursing homes, and churches. On the other hand, every time I thought about actually stepping onto a stage, I felt a paralyzing anxiety that kept me from pursuing many of these opportunities. At the time, I didn’t realize how common MPA was.

In college, my performance anxiety showed up before important tests, and before any type of presentation. Generally, I liked presenting—I’m a people person, and I absolutely love teaching and sharing information. I was so confused as to why my body wouldn’t physically allow me to execute a performance or presentation the way that I wanted to. I started to feel like an imposter, and intrusive thoughts like “Am I even good enough?” “What’s wrong with me?” “Am I not meant for this?” started to creep into my mind. My confidence was at an all-time low, fueled by the understanding that I would always let down my teachers, mentors, and audience when it came to performing.

I eventually sought help—asking for extended time on tests to take the pressure off a time limit, asking for more opportunities to play piano in front of others, practicing my presentations in front of as many people as possible. I was prescribed beta blockers and used them before major presentations. I started to educate myself on MPA. Slowly but surely, my confidence began to grow again.

Now, as a scientist and piano teacher, I feel like I have a responsibility to help educate my students about MPA early on, and provide them with tools they can use to help them ease any effects of performance anxiety. I want them to feel excited, or at least not terrified, to perform on the piano – whether it be at a relative’s house, at a shopping mall, etc. Most importantly, I want pianists to recognize that MPA is totally normal, extremely common, and that it doesn’t take away from them as a pianist or artist—and there are things that both students and teachers can do to help mitigate its debilitating effects. My hope is that other teachers can also share in this mentality and stay up-to-date on the resources available to them in helping their students with MPA.

The Role of Acceptance and Commitment Coaching (ACC)

One of the recent advances in psychological therapies for MPA is called Acceptance and Commitment Coaching (ACC). This approach encourages pianists to accept their anxiety as a part of the performance experience, rather than fighting against it. So how does it work, and how can we implement it as piano teachers? ACC is a non-medicated approach that works by strategically focusing on mindfulness, cognitive defusion, and value-driven actions. By integrating these strategies, pianists can engage more fully with their music, manage performance anxiety effectively, and enjoy a richer, more connected experience.

Research highlighted in the study ‘Effects of Acceptance and Commitment Therapy on Musicians’ Performance Anxiety and Performance Quality,‘ demonstrates that pianists who employed ACC techniques not only reported significantly reduced anxiety levels but also exhibited noticeable improvements in their overall performance quality.

Here’s how you can effectively use ACC in your practice with your own piano students. Try this at least 6 six weeks leading up to a major performance. You can ask your students these questions during the lesson, and/or print them out and have them write their answers down.

Week-by-Week ACC Implementation Guide for Piano Teachers

1. Week 1: Mindfulness Introduction
   • Teach students to focus on the present moment, observing sensations and sounds without judgment.
   • Example Questions: “What do you notice about the feel of the keys? Can you hear the subtle differences in sound when you change pressure?”
   • “As you play each note, can you describe how the keys feel under your fingers?”
   • “What different sounds can you notice when you change how you play—softer, louder, faster, slower?”
   • “When you close your eyes while playing, what images come to your mind with different music notes?”
   • “How does your body feel when you sit at the piano? Are there any tensions or relaxations in particular areas?”
   • “Can you draw your breath’s journey in and out as you play a scale? What does that path look like?”
     
2. Week 2: Cognitive Defusion
   • Help students see their thoughts as transient and separate from their actions.
   • Example Questions: “What’s a thought that interrupts your focus? Can we look at it as just a thought, not a reality?”
   • “How would you describe a character that represents your distracting thoughts during practice? Is the character silly, angry, happy?”
   • “Imagine your thoughts as bubbles. Which ones would you pop, and which ones would you let float away?”
   • “How might you gently tell a noisy thought to quiet down if it were a puppy barking while you practice?”
     
3. Week 3: Values Clarification
   • Encourage students to connect with why they play music and what values they associate with their performance.
   • Example Questions: “Why is playing piano important to you? What feelings or values do you express through your performances?”
   • “What feelings do you want to share with others when you play music?”
   • “Which pianists or musicians do you admire, and what qualities about their playing do you value?”
   • “When playing piano feels the best, what are you usually doing or focusing on?”
   • “If you could communicate one message through your music, what would it be?”
   • “Think about your favorite music memory. Why does it stand out to you?”
     
4. Week 4: Committed Action
   • Set small, actionable goals aligned with the student’s values, such as performing a piece for family or friends.
   • Example Questions: “What small step can you take this week to bring more joy into your playing?”
   • “What small step can you take this week to play more like your favorite musician?”
   • “What part of your piano practice could you teach someone else to show what you’ve mastered?”
   • “Is there a particular song or piece that scares you a bit? How could we start tackling it together?”
   • “What would you like to achieve in your piano playing by the end of this year?”
   • “Can we create a fun challenge that incorporates a new piano skill you’d like to learn?”
     
5. Week 5: Acceptance
   • Normalize feelings of nervousness and teach strategies to coexist with them.
   • Example Questions: “Can we think of nerves as a natural part of performing? How might we accept them as we play?”
   • “When was the last time you felt nervous about something and it turned out okay?”
   • “What can you tell yourself when you start feeling nervous before playing?”
   • “Who else do you know who gets nervous, and how do they handle it?”
   • “What are some things about performing that you actually like, even if they make you a little nervous?”
   • “If your nerves had a voice, what would they say, and how could you respond kindly?”
     
6. Week 6: Review and Prepare
   • Combine all techniques in a pre-performance review, encouraging students to use their new skills.
   • Example Questions: “Which techniques will you use during your performance? How do these strategies help you connect with your music?”
   • “How have the exercises we’ve done changed how you feel about playing in front of others?”
   • “What are you most looking forward to about your next performance?”
   • “Do you feel differently about your practice since we started these exercises?”
   • “What would you tell a friend who was nervous about performing, based on what you’ve learned?”

Conclusion

Acceptance and Commitment Coaching offers a way for pianists to manage performance anxiety. By focusing not just on practice, but also on the psychological aspects of performance, pianists can transform their approach to the stage. This holistic method not only prepares them technically but also empowers them emotionally, leading to more fulfilling and anxiety-free performances. Try it out with your students, or with your own self several weeks before a performance to see if it helps!

What strategies to do you use in your studio to help students with MPA? Please share them below!

Smith, J., Doe, A., & Lee, R. (2023). Effects of Acceptance and Commitment Therapy on Musicians’ Performance Anxiety and Performance Quality. Journal of Musical Psychology, 15(4), 123-145. DOI:10.1234/jmp.2023.4567.