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The pursuit of musical excellence is a journey that many musicians embark upon with a fervent desire to achieve perfection. We strive for flawless performances, impeccable technique, and unwavering precision. As an advanced amateur pianist, these are goals to which I too aspire.

But the constant pursuit for perfection and an ongoing desire for perfectionism in one’s music making can be a double-edged sword for musicians. The relentless pursuit of flawlessness can lead to a never-ending, often negative cycle of self-criticism and anxiety. Musicians who set impossibly high standards for themselves may find it difficult to ever feel satisfied with their performances, leading to a constant state of stress and self-doubt. Some may ask themselves, “will I ever be good enough?”

The pursuit of musical mastery is admirable, and indeed the striving for mastery is a major driver of motivation and commitment. However, it is also essential to recognise the significance of know when and accepting that you are “good enough” as a musician. Perfection can be an unattainable goal; acknowledging you are “good enough” is not only perfectly acceptable but can also be liberating and personally fulfilling. It can help musicians to break free from the paralysing grip of perfectionism, allowing them to enjoy the process of making music and to develop as artists and individuals.

My own personal acceptance that I am “good enough” came after I had spent nearly ten years studying for professional performance diplomas, having returned to the piano seriously after a gap of nearly 25 years. Having secured two diplomas with distinction in relatively quick succession, my ego led me to believe that the final, Fellowship diploma was well within my grasp. Unfortuntely, I failed this diploma; the deep disappointment I felt on receiving the news gave me an opportunity to reflect on what I really wanted from my music. I knew I would never be a professional musician, despite playing at an advanced level and receiving external validation from teachers, mentors, peers and audiences, and I knew I was a good pianist. But taking lessons, and attending courses and piano meetup events, where there was a tendency to constantly compare oneself to others of a similar ability, made me question my own abilities in a way which made practicing and music making feel like a chore rather than a pleasure. (And ultimately, as a amateur musician, pleasure should be at the foundation of one’s musical pursuits.)

“You don’t need to go on courses to know you’re good” my ultra-sensible, pragmatic and honest husband told me one day. And he was right. So I learnt to trust my own musical instincts, to recognise the value of what I had to say and to measure it against the music rather than other people – to, as Schumann said, “…converse more with scores than with virtuosi” – to recognise my own autonomy as a musician, and accept that I am “good enough”.

The result has been liberating. I no longer care what other people are playing, at what level they play at, or what repertoire they are working on. I play the music I want to play, and I’ve stopped beating myself up if I don’t practice every day (another joy of being an amateur is not feeling beholden to one’s instrument and muse every single day).

So why should you, as a musician, accept that you are “good enough?”. Here are some thoughts on the subject:

Embracing Individuality

Every musician possesses a unique set of skills, experiences, and perspectives. Embracing the idea that you are “good enough” means recognising and celebrating your individuality as an artist. It allows you to focus on your strengths, develop your style, and create a distinctive musical identity. While aspiring to reach new heights and improve is essential, acknowledging your current level of skill and artistry is a valuable step toward authentic self-expression.

Redefining Success

Success in music should not solely be measured by technical perfection or the approval of critics, peers, teachers or audiences. By accepting that you are “good enough,” you redefine what success means to you personally. It can encompass the joy of playing, collaboration with colleagues, the connection with your audience, and the sense of accomplishment from personal growth. This shift in perspective encourages a more holistic and fulfilling musical journey.

Reducing Performance Anxiety

The fear of making mistakes and the pressure to be flawless on stage are very common triggers for performance anxiety in musicians. Accepting that you are “good enough” can significantly alleviate this anxiety. When you recognize that making mistakes is a natural part of the learning process and that it does not diminish your worth as a musician, you can perform with greater confidence, freedom and enjoyment.

Sustainable Motivation

Constantly striving for perfection can lead to burnout. On the other hand, acknowledging that you are “good enough” can provide you with a sustainable source of motivation. The satisfaction derived from setting achievable goals, making incremental but noticeable progress, and celebrating small victories can keep you inspired and committed to your musical journey over the long term.

In conclusion, accepting that you are “good enough” is not a sign of complacency nor mediocrity. It is a testament to self-compassion, personal growth, and a healthier perspective on the art of making music. Embracing your current level of skill and artistry while still aspiring to improve can lead to a more fulfilling, enjoyable, and sustainable musical journey.

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(Photo credit Katrina Wright on Unsplash)

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It started with this tweet…..

I retweeted it because it amused me. But looking at that red cover with the simple outline of a recorder also brought a Proustian rush of memories – of about 20 children sitting in a sun-filled classroom at Maney Hill Primary School in Sutton Coldfield in the early 1970s, with the book open flat on the table in front of us, each clutching a brown plastic recorder from which we attempted to draw sweet – and often not-so-sweet – sounds!

I confess I loved the recorder. It was easy to play and portable so you could take it round to your best friend’s house and play London’s Burning or Three Blind Mice in a round together. I loved the green Dolmetsch box that the recorder arrived in, and the special fluffy cleaning device.

My interest in, and enthusiasm for the recorder was encouraged less by school recorder playing and more by my father, himself a very competent amateur clarinettist and recorder player. Our joint enthusiasm was undoubtedly helped by David Munrow, whose radio and TV programmes about early music inspired us to improve our recorder playing, explore new repertoire and different instruments too (I had a very pretty blonde wood alto recorder in addition to the treble). At the same time, I was beginning my piano studies, and I have very happy memories of making music at home, with my dad and with other recorder-playing school friends. Later, at secondary school, I was sufficiently proficient in the recorder (though I never took any grade exams) to join the Recorder Group which performed mostly Renaissance and Baroque repertoire. It was one of many fantastic musical opportunities I enjoyed at a state comprehensive school in the early 1980s: how lucky we were then!

That image of The School Recorder Book brought a flood of memories for me so I posted it on Twitter and asked people to share their own reminiscences of playing the recorder at school. The response has been incredible – I never imagined that I would “go viral” online with a post about learning the recorder (to date, the post has received over 116K views)! So many wonderful memories shared (some not so positive!) – there isn’t room to include them all here, so I will include a selection and you can read the rest via my original post.

The first person to reply was concert pianist Sir Stephen Hough with a less than positive memory:

Remember it? I’ve still got a copy (and Book 2).

Started learning at 8. At 12, went to Saturday morning local music college to play. Took Trinity College grades up to 8, then Diploma; A level music, and entered first ever BBC Young Musician (1978). And met my husband!

HEATHER

Many, many other people responded with comments about how the recorder had encouraged their interest in music, got them reading music, and led them to move on to other instruments. For some it was an important gateway into music which eventually led to a professional career in music:

Recorders are cheap for schools and parents to buy and are a great way to give children their very own musical instrument. They’re also a gateway to other instruments and a way to make notation come to life! And they can sound really good!

OLIVIA

This book laid the foundation of a joyous musical journey for many of us whose life would be so much poorer for not learning an instrument! If it was still compulsory in schools we wouldn’t be in half the mess we are!

PHIL

I learned with this at school in the early 80s, and remember my delight when the notes on the page finally matched up to my fingers and the sound I made! Went on to the next book in private lessons, took up treble, exams up to grade 8, learned tenor and bass, am still playing.

SERENA

Learning recorder in primary school was such an integral part of my musical education. We were so lucky to have a really enthusiastic head teacher who encouraged us to learn. She played classical music as we entered assembly and wrote the name of the piece on the blackboard.

MARK SIMPSON, composer & clarinettist

Flipping LOVED it – played for hours. Mum introduced me (a primary teacher who taught recorder in class w/ this book) and then I learnt with my class when I was 9/10. I’m convinced it made me a better singer (breath, phrasing etc) and nowadays a better broadcaster!

KATIE BREATHWICK Classic FM presenter

I received over 500 replies to my original tweet, and a few reminiscences by email too. I’m so grateful to everyone who shared their recorder memories, even the less savoury ones, such as recalling the taste and smell of the disinfectant in the bucket where the school recorders lived between lessons! The overriding message from all of this is that playing the recorder at school laid the foundations for a love of music, the ability to read music, the inspiration to go to learn other instruments, to teach music or to pursue a career as a performing musician (“I wanted to be Michala Petri!” declared one enthusiastic respondent to my original tweet).

Of course there is a serious side to all this ‘recorder love’. Today children learn instruments like the ukelele or ocarina at primary school and the recorder has rather fallen out of favour. Yet it’s one of the most logical, simple instruments to play and makes a pleasant sound from the get go. The reasons given for learning the ukelele are identical to those for the recorder: indeed, learning any musical instrument helps with concentration, cognition, memory, self-confidence, and a host of other valuable life skills.

Today music teaching in schools is declining at an alarming rate and recent statistics on music education make for depressing reading. Only 5,000 students in England took A level music in 2023, down 45 percent since 2010 [1]. If this downward trend continues, in less than 10 years no students in the state sector will be taking music A level, and learning music will become the preserve of the privately-educated, specialist music schools, and those who can afford private tuition. Not only does this decrease the pool of potential professional musicians and music educators, it also confirms the tired cliché that music, in particular classical music, is an elite activity. The impetus has to be from bottom up – from early years education where enthusiastic, creative teaching fosters an interest in and love of music from a young age.

Reversing the decline in music education will take sustained, collaborative efforts from a range of different organisations, partners, and funding bodies across the music sector. A diverse and thriving music sector, with a representative workforce and equal opportunities for children and young people to consider meaningful careers in music, was not built overnight. It is the work of decades of trust building with children and families and careful, considered, and consistent offering of opportunities for young people to develop their skills over many years. The best time to reverse the decline in music education and address representation issues in the music sector is not when young people reach adulthood, but during childhood.

The Day the Music Dies? Why time is running out to tackle the decline in UK music education

You can read all the responses by clicking my original tweet and scrolling down.

[1] The Day the Music Dies? Why time is running out to tackle the decline in UK music education

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Concert pianist. Thanks to movies and popular culture, this job title brings to mind conflicting images of a starving artist, mad genius, or supernaturally talented magician who communes with the Muse – almost never the hardworking professional that a pianist must be in order to maintain a successful performing career.

Lifting the Lid: interviews with concert pianists seeks to change this. In this brief book, authors Michael Johnson and Frances Wilson [The Cross-Eyed Pianist] give readers a personal, off-stage glimpse of some of the world’s most accomplished concert pianists. This thoughtfully-curated collection of interviews allows pianists the opportunity to talk about the music they love – and the lives they lead – in their own words. What emerges is composite picture of the joys and challenges of a specialized job, as well as the passion that pulls each of these players to the piano each day to wrestle with the music (and themselves) in their quest to bring moments of beauty to the rest of us.

Read the interview

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The following Japanese terms are all about warding off laziness and boosting motivation plus tips for embracing the concept of doing your best. They are useful as general rules for life; here I have interpreted them for the benefit of musicians:

Ikigai

Have a purpose in life

Ikigai comes from two words – Iki meaning life, and Gai which describes your value or worth. It’s the reason you wake up each morning, what drives you, and what gives you fulfilment and purpose in life.

For the musician, this probably seems obvious – music is your purpose. Whether you’re a professional or an amateur musician, if you genuinely love and care about music, pursue it with passion.

Kaizen

Making small improvements, every day

This is particularly helpful for musicians in their daily practising/training and is a useful reminder that achievable goals and slow gains are, ultimately, more motivating, meaningful and personally fulfilling than striving for perfection from the outset. We tend to define achievement through one significant moment – learning a whole page or movement of a piece of music, for example – and underestimate the value of making small improvements on a daily basis which accumulate to create a significant whole. Recognizing and celebrating small milestones and achievements is an important aspect of Kaizen. Musicians should acknowledge their progress, which can be a motivating factor to continue improving.

Shoshin

Beginner’s mindset

“I am a beginner. I am always learning” – Fou Ts’ong, pianist (1934-2020)

Shoshin encourages approaching tasks with an open, eager, and non-judgmental mindset. In the context of the musician, this may include: openness to learning; abandoning preconceptions and biases; embracing and learning from mistakes; curiosity and creativity; humility.

By applying shoshin, musicians can maintain a sense of wonder and enthusiasm in their musical journey, leading to ongoing growth and a deeper connection with their art.

Fou Ts’ong

Ganbaru

Doing your best / persevering

Ganbaru conveys the idea of doing one’s best, putting in maximum effort, and persevering through challenges. It’s about pushing yourself to your limits and never giving up, even when the going gets tough. For musicians, applying ganbaru may involve: diligent, deliberate practice; resilience; commitment to excellence; consistency; maintaining a positive attitude.

Ganbaru encourages musicians to work tirelessly to achieve their musical aspirations and reach their highest potential.

Nintai

Patience and perseverence

Patience is a virtue in Japanese culture. It’s also a very useful attribute for musicians to cultivate! When applied to musicians, nintai may include:

  1. Having a long-term Perspective: Musicians should appreciate that mastering their art is a gradual process and be patient in their development.
  2. Endurance: They must persevere through challenges, setbacks, and plateaus in their musical journey.
  3. Staying Committed: Nintai encourages musicians to stay dedicated to their practice and goals, even when progress seems slow.
  4. Respect for the Process: Appreciating the value of each step and the learning process itself is essential.

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