When most people think of performance anxiety, they may imagine someone about to go on stage to 
perform in a recital, or play, or to speak in front of an audience. They have spent hours, weeks, and most likely months getting ready to show the world what they have to offer with all their hard work, and expectations of themselves are high. I’m sure we’re all aware of the possible symptoms of performance anxiety, and have likely experienced some of them to a small or large degree ourselves – dry mouth, pounding heart, shaking hands, cold sweats, and upset stomachs. But what do we do when a student experiences this anxiety each and every week? And not through having a busy performing schedule, but in their lesson? Originally, I was just going to answer that question in this blog, but I’ve decided to make this a little more personal and share why this topic is so important to me.
I would like to discuss with you my own experiences with performance anxiety as a student through my early adult years (not that long ago – maybe 8-10 years ago) and share a few thoughts that would go through my mind each lesson. It’s quite a personal journey, but I have had a few adult students lately with the same sort of thought patterns and having been there, I know what they are going through. Most people don’t suffer anxiety to such a high level, so I thought I would give an insight into how much it can disrupt thought patterns and emotions tied into performing, and different ways of empathising and helping students to overcome it. I have managed to help shift my students’ (with performance anxiety) focus and their understanding of what their lesson is actually for, and I would also like to share that shift with you.
In March, I traveled to New York City for the Music Teachers National Conference. Benjamin Zander, conductor of the Boston Philharmonic Orchestra, gave the keynote address on themes from the book that he and his wife wrote entitled, 
One of my goals as a piano teacher–and probably one of the goals of many teachers and studio owners out there–is to avoid student turnover. I understand that many students who quit piano at a young age will go on to have regrets as adults for not sticking with music lessons longer, which I find heartbreaking. I enjoy transitioning students from elementary level music to intermediate and advanced repertoire, and if a student quits music lessons too soon, I don’t get to experience this with them. I also truly believe having happy students (and experiencing little student turnover as a result) is the best marketing strategy out there. If students are happy, they are less likely to quit and leave me to quickly find a replacement before it causes too much of a financial strain. And, if students are happy, they will provide excellent word-of-mouth references in my community–free advertising!
February was a bit of a stressful month around my studio. Many of my students were preparing to participate in our local National Federation of Music Clubs’ Junior Festival. And as nervous as they were about playing, I think I was even more nervous for them.