Students often get bummed out about their performances, either onstage or just playing for me in their lessons. "But I played it so much better at hooooooome!" I know they did. And the difference between an amateur and a professional is that an amateur's playing suffers slightly with the pressure of performing for another human being, while a professional's playing actually improves.

Your own internal pressure gauge probably has fewer lines on it. Photo by eschipul.I like to quantify things that aren't usually measured in order to make certain ideas less mysterious, so bear with me here. Suppose you play a piece extremely well at home - you get an A. Then, when you perform in front of someone else, you become self-conscious. You are imagining yourself from the other person's perspective, which creates a feedback loop wherein you become self-conscious of your self-consciousness ("What if I mess up? What will she think of me then? Whoops, I just messed up - now what does she think?").

As a result of this discomfort, your "grade" drops down to a B. And if you are playing faster than usual, or you're playing on an unfamiliar instrument, or your bench/bow/footrest isn't adjusted perfectly, or you have physical symptoms of nervousness that interfere with your playing, you might drop down to B-minus or C.

One solution to this problem is to practice your piece until it is an A-plus. That is, work until your Comfort Score is a solid nine out of ten. Then track how long it takes you to reach that score from one practice session to another. Five repetitions? Three repetitions? Can you get a Comfort Score of nine on your first try? Once you can do this, your performance will be less likely to suffer in the presence of an audience.

Statistically speaking, it's possible I was messing up big time right as this photo was being taken.Being more comfortable with your music will not solve the problem entirely. You'll still have to figure out how to deal with the adrenaline flowing through your system. Skilled performers, instead of self-conscious, become self-aware. They use the adrenaline to attain a heightened state of perception, like in that long moment when an outfielder has already anticipated exactly where a pop-up is going and stands waiting patiently for the ball to drop into his glove.

Experienced performers feel the intensity of the audience's presence, but do not second-guess themselves - instead of hoping that they look good, sound good, and don't mess up, they focus on serving the audience well, which makes these musicians authentic and compelling. Doing this sometimes actually leads to weird mess-ups in itself, but not the kind that ruin a performance. Instead, these quirks contribute to the intimacy and immediacy of the moment. 

So how do you get to the point where you can do that? Playing at the A-plus, high Comfort Score level definitely helps - mastery allows you to let go of what your hands are doing. Then, you have to let go of what your thoughts are doing. This, too, takes practice.

Experience will contribute significantly to your ability to exhibit grace under pressure. The more you play in front of people, the more effectively you learn to transform anxiety into electricity. Be compassionate with yourself, and expect that in the beginning you won't play as well under stressful conditions. As a result, gradually, you will.

Imagine that you are in a room that is illuminated by one strong light. As you are listening to a piece of music, the color of the light changes with every chord change - from blue, to red, to green, back to blue.

In that blue light, everything in the room looks blue, and when the light is red, everything in the room glows red. Everything you see is affected by that color.

Photo by DocklandsboyEverything you hear is affected by the color of the chord as well. Violin, flute, guitar, bass, piano: each instrument that produces a musical tone will obey the laws of harmony and become a part of that chord, reflecting its color just as each visible surface will absorb and reflect color in accordance with the laws of the light spectrum.

Chords are not like colors. Chords are colors. Harmony is color you can hear, and with this understanding you can solve the mystery of what chords you are hearing in a given piece of music.

Although the options may seem limitless, the list of most likely chords in a given song is actually pretty short: They are a family of six, who will often have friends over for dinner.

Based on the seven notes of the major scale, you'll get three major chords and three minor chords. And 80% of the time, you will use the three major chords.

Yes, for all you music theory nerds, there is a diminished chord too, but that's like the end of the onion - you throw it away unless you're making soup stock.

The subtle, muted palette of our Virginia Avenue location is clearly visible here.The diatonic chords (those that are native to the key) are called I (one), ii (two), iii (three), IV (four), V (five) and vi (six). Each chord (and for that matter, each tone of the scale) has a different color that you can train yourself to hear. Their friends (chords borrowed from other keys) have distinctive colors as well.

When people sit down and play a song perfectly on the first try having only heard it a few times, it seems like magic. It's not. Trained musicians recognize the colors of the chords and scale tones they hear and have a command over the physical interface used to produce them (that's, you know, the instrument).

Here are a few ways in which chords are colors:

• They can be described but not defined. You can describe blue as calm, peaceful, cool, but that is completely subjective. Likewise, I can describe the I chord as grounded, settled, and warm but that is a subjective description of an objective reality. Each musician must develop their own experience of each chord.




• They can match or clash. Fluorescent orange really stands out if put in a baby's nursery of lemon, baby blue, and lavender, just as the bVI (flat six) chord sounds jarring amidst the usual I, IV, V, vi. I learned to identify these "borrowed" chords before I learned their normal, diatonic cousins because they stood out so much.




• They can be used strategically to evoke emotion. Combinations of colors can be soothing, patriotic, aggressive, sophisticated, neutral, or romantic, whether visual or aural.




• They can become dated. Avocado, rust orange, and the major seventh chords of Bread and The Bee Gees were all very much at home in the kitchens of the 1970s.




• Variations can be too subtle for the casual observer to detect. To the layperson, it's green; to the designer, it's sage. And that's actually a minor ninth, not a minor seventh.




• They are learned through trial and error. We start learning about color when we learn to talk. It's amazing that toddlers learn so abstract a concept so early in life. However, there is a lot of, "No, this isn't purple. This is green," on the way there. "No, that's not the V chord, that's the IV chord."

As you listen to music to hear the colors created by the chords, don't just listen to your instrument in the mix (for example, the horn section). Remember the room with one light in it, and how everything is affected by the color.

Hearing these colors is not an innate talent that you either have or you don't. Identifying chords by their color is an ability that anyone can develop. I hope this post will help you to better understand the nature of this skill, so you can put it to good use!