The "Zone"

[JamPro]

After about 40-45 mins. of playing the piano, something happens to my fingers.  They become much more capable: faster with less effort, greater dynamic control, land more accurately on the proper piano note, etc.  My ear/brain/finger connection seems to enhance as well: my mind focuses on the sounds, I "hear" new and different note passages, and I'm better able to produce those note passages thru my fingers.  It feels like I can do so much more at the piano than I can during the first 40 mins. of playing - the difference in my playing seems like night and day to me.

 

I seek out and tremendously enjoy those moments when I can play with these enhanced capabilities - and in performance I dread those first 30-40 mins. when I am not "warmed-up" or have not yet achieved the "zone".  This is why I always hated those one set performances and much preferred the performances of two or more sets.  The first set always feels like/sounds like a throw-away to me; the second set is where I feel I (and the band in general) play much better.  (It is also my feeling that the requirement to move a keyboard, speakers, and ancillary stuff onto a stage interferes with the muscular activity I need to play the keyboard  well and therefore makes that first set even more clumsy and unsatisfying for me.)

 

What would help me is a full 40-45 minute sound check at band volume to achieve the warm-up state.  Sadly, at the level at which I do performances, any sound check is a luxury and always limited to "can I hear my instrument and my vocals".

 

So I would like to hear from others what things they do to help them get to that more capable warmed-up state.  And is there anything I can do to reduce the amount of time it takes me to get there?

[Al Quinn]

I’ve learned that, for me, what you’re describing is more about how I feel than how I play / sound. To my surprise when I record gigs or practice my playing sounds pretty consistent whether I’m warmed up or not (of course, this isn’t the case if I’m playing something that pushes my technical limits). I’ve done gigs where I thought I struggled through the first set and played better in the following sets but it all sounds like the same level of play when I listen back.
 

Getting into the zone does take some time for me though. It’s more a matter of concentration than anything else. Sometimes my mind is busy with other stuff that interferes with the clear mind needed to get into the zone or flow state.

[stoken6]

I got in the zone a few hours ahead of a recent gig. My mind was working through the set, and identified problems I had worked on from the previous gig ("yup, I won't make that mistake this time"), and I was looking forward to seeing the band again, and I knew everything was packed and the venue was easy to get to and a straightforward load-in. I recorded the gig and can confirm my playing was free from distraction and hindrance.

 

I can't replicate that sensation at will, unfortunately!

 

Cheers, Mike.

[PianoMan51]

For me there are some different zones.
 

One of my favorites is when I’m over my peak. Hands are buzzy, mind is tired but wide awake and now completely relaxed. I’m in a certain sense “played out”. I’ve already said everything I need to say musically. I have nothing left to say or prove. And in rare but special times, I can just let the music itself flow. It plays me. And shit comes out of the keyboard that I have never played before and never will again. 

[Adan]

Hard to give advice because it's so situational and personal.   Some ideas off the top of my head . . .

 

If it's a repeating situation, like a weekly same place same time gig, you can usually come up with some helpful routine.  For me, "routine" is the key word.  Following the same steps each time allows you to take your mind off of irrelevant logistics and focus on playing music.  

 

For instance, I had a weekly piano gig in a bar.  A few blocks away there was a vintage clothing store that had an old piano, mostly for ambience, that I'd noodle on for 20 minutes before the bar gig.  Once I established that routine, it helped me get focused.  

 

Biut you may be talking about one-off gigs where you're one of three bands playing the night, set up and break down as quickly as possible, no sound check.  I've done my share of those and there was really no way to prepare -- either the magic happens or it doesn't.  The best strategy for those was to have a couple drinks to get in the "don't give a f%##" mindframe.

 

If I've got 10 minutes of free time before downbeat I might step outside with headphones and listen intently to whoever inspires me.  Totally different approach but sometimes that's all you can do.

 

If there's a green room to hang out in before downbeat, bring a small keyboard or melodica and try jamming with bandmates just to get some chemistry/momentum happening.  

 

If you're the gregarious type (I am), work the audience to make new friends.  Sometimes just knowing there's a few people out there who are rooting for you can help get over the hump.

 

You can prepare in the best way and still find that the sound and energy in the room knocks you out of the zone.  Or the opposite could happen!

 

 

[CEB]

Play the piano until the piano plays you.

[CEB]

When I was a player I would play for an hour or so before start time.  Sometimes specific gig material but more often than not just piano stuff, classical or standards.  People really like to hear Linus and Lucy LOL.   Then leave eat change clothes then come back before the downbeat.  Typically for a nighttime show we would be setup ready to go by 3:00 in the afternoon. This was especially easy with my IEM system running dual mono mix mode where I needed no interaction with production to monitor my rig.   Today there are days where I can't over do it.  Tendonitis or something flares ups.

 

But now I'm retired.

[Adan]

33 minutes ago, CEB said:

When I was a player I would play for an hour or so before start time.  Sometimes specific gig material but more often than not just piano stuff, classical or standards.  People really like to hear Linus and Lucy LOL.   Then leave eat change clothes then come back before the downbeat.  Typically for a nighttime show we would be setup ready to go by 3:00 in the afternoon. 

Good advice, but the OP said he usually doesn't get any kind of sound check, much less a leisurely afternoon one.

[CEB]

The only other pieces of advice would be personal techniques but whether these are true physical techniques of the trade or self inflicted Jedi Mind Tricks I am not sure.  My favorite was taught to me by Preston Jackson who drew a lot of musical parallels from martial arts.  Tension is the enemy in playing.   In arts like Taijiquan energy comes from the belly and he always explained that the center of the palms are the bellies of the hands.  In Taiji the Qi goes where the mind tells it to go. So....

 

If you want your hands relaxed for easy and quick movement then you need to mentally concentrate on relaxing the center of the palms.  Nothing actually there but carpal bones and skin but it has always worked for me.  The act of concentrating on the palms must relax all the surrounding musculature and the wrists.    Or ... its just a Jedi mind trick.

 

Breathe and CONCENTRATE on relaxing the centers of the palms while playing and see if you eventually notice a difference.   Honky tonk rolls/trills/tremolos etc .... ( whatever you call them are a good first testing ground.

[octa]

this kinda helped me find a ”zone” or 2 a few weeks back

[Moonglow]

What helps propel me into “the zone” is when I make a mistake, especially on a routine part, lick, whatever. Pisses me off to no end, and jacks my focus, concentration, activation, etc., to another level. It could even be a relatively minor flub that few would even notice…but I know…and that’s all it takes. I do wish I could get “there” via another mechanism.