How-To Practice “Using External Focus Of Attention” Flashcards

What is attentional focus in musical performance?

1
Q

What is attentional focus in musical performance?

A

It’s like deciding where to look while painting—do you focus on every hair of the brush, or every stroke of the brush (internal) or the overall painting you’re creating for others to see (external)?

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2
Q

What is an external focus of attention?

A

Imagine focusing on how your painting will look to someone standing across the room—that’s an external focus.

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3
Q

What is an internal focus of attention?

A

It’s like focusing on how precisely you hold the brush and how smoothly it moves—attention stays on your technique.

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4
Q

Why is external focus better for musical performance?

A

Like painting with your audience in mind, it makes the final piece more expressive and impactful, without getting stuck on perfecting every brushstroke by micro-managing your body.

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5
Q

How does external focus affect musical expression?

A

It’s like adding vibrant colors to your painting—focusing on the audience helps bring out the emotions in your music.

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6
Q

How does internal focus affect technical precision?

A

If you overthink every brushstroke while painting, you might actually make more mistakes—internal focus can hinder performance.

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7
Q

What happens when you focus on the sound of the music?

A

It’s like painting while imagining how the entire canvas will come together—this external focus improves both expression and precision.

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8
Q

Why might internal focus feel natural but not helpful?

A

It’s like being overly cautious; it might feel safer, but it stops the flow of creativity and expression.

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9
Q

What did the experiments reveal about focus and musical performance?

A

When musicians painted their “musical picture” with the audience in mind (external focus), their art came alive.

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10
Q

Why is an audience important in this study?

A

An audience is like the gallery for your painting—it adds pressure, but it’s also the reason for creating expressive art.

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11
Q

What does “musicality” mean here?

A

It’s the mood, interpretation, and emotion in the music—like the choice of colors and how they blend in a painting.

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12
Q

Why does external focus improve both technical and musicality results?

A

Like imagining the viewer’s experience of your painting, external focus improved both the details and the overall impact.

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13
Q

How does pressure affect internal vs. external focus?

A

Under pressure, focusing internally is like second-guessing every brushstroke; it disrupts the flow.

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14
Q

What’s the “goal-action coupling” in music?

A

“Goal-action coupling” in music refers to the connection between a musician’s intended outcome (the goal) and the specific physical or mental actions required to achieve it (the action). It emphasizes the relationship between what you want to express musically and the technical execution needed to make it happen.

For example, in fingerstyle guitar:
• Goal: Play a melody with dynamics that conveys emotion (e.g., soft and delicate in one part, strong and assertive in another).
• Action: Adjust the pressure of your picking fingers, control your thumb for balance with the bass notes, and perhaps vary where you strike the strings (closer to the bridge or fretboard).

Strong goal-action coupling means that your brain, ears, and hands are in sync. You can effectively translate your musical ideas into physical movements without overthinking, allowing for expressive and natural playing.

Why is it important?
• It helps develop musicality, as you focus on what you want to communicate rather than purely technical execution.
• It reduces mechanical or robotic playing, keeping your music engaging.
• It builds muscle memory, so your actions (like chord transitions or fingerpicking patterns) become automatic over time.

How to strengthen goal-action coupling?
1. Visualize the Goal: Before playing, imagine how the piece should sound.
2. Practice Slowly: Ensure each action aligns with the sound you’re aiming for.
3. Use Feedback: Record yourself or listen critically to assess if your playing matches your goal.
4. Experiment: Try playing phrases with different dynamics or techniques to find what best achieves the desired expression.
5. Consistency: Regularly practice connecting intention with execution to make it second nature.

By focusing on both the “why” (musical intent) and the “how” (technique), you can create music that feels both precise and deeply personal.

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15
Q

How does self-consciousness hurt performance?

A

Like worrying too much about spilling paint, it stops you from creating freely.

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16
Q

What role does attention play in automatic skills?

A

Attention helps or hinders flow—external focus is like letting your brush move instinctively, creating smooth strokes. Internal focus is like trying to control every hair of the brush.

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17
Q

How can teachers apply these findings?

A

Teachers can guide students to focus on the “big picture” of their painting, helping them play for the audience.

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18
Q

What’s the “fear-feeds-fear” loop?

A

It’s like being afraid to mess up one stroke and then ruining the whole painting due to overthinking.

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19
Q

How did external focus impact experienced musicians?

A

It let them paint more expressive and technically precise “musical canvases.”

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20
Q

Why is focusing on audience perception important?

A

It’s like creating a painting that captivates viewers instead of just satisfying the artist.

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21
Q

How can musicians use external focus during practice?

A

By imagining how the music “looks” to an audience, like a painter visualizing their gallery display.

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22
Q

Why is technical precision higher with external focus?

A

Like trusting the brush to flow, external focus avoids over-controlling movements, leading to better precision.

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23
Q

How does external focus free up mental energy?

A

It’s like clearing distractions to focus on your painting’s vision instead of doubting each stroke.

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24
Q

What does an “optimal performance” feel like?

A

It’s like painting effortlessly, where each stroke feels natural and part of a larger masterpiece.

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25
Q

How does an external focus increase confidence?

A

When you focus on your painting’s impact, you stop worrying about small mistakes.

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26
Q

Can these findings about the differences between internal vs extermal focus help beginners?

A

Absolutely—it’s like teaching new painters to focus primarly on their picture’s beauty, and not on mechanical processes and technique.

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27
Q

How can musicians prepare for stage performance?

A

Practice with the audience in mind, like painting as if someone will view it from across the room.

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28
Q

What is attentional focus in guitar practice?

A

It’s like choosing whether to focus on planting seeds (internal) or imagining the entire garden blooming (external).

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29
Q

What is an external focus of attention in guitar practice?

A

It’s like visualizing the audience enjoying the beauty of your garden while you plant.

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30
Q

What is an internal focus of attention in guitar practice?

A

It’s like obsessing over how deep or straight each seed is planted—you’re caught up in the small details.

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31
Q

Why is an external focus better for learning guitar?

A

Like focusing on how the garden will look, external focus helps your playing flow naturally and expressively.

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32
Q

How does internal focus affect practice?

A

It ends up being like over-watering one plant and neglecting the rest—it disrupts balance and growth. Best tend to the whole garden vs focusing on one petal.

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33
Q

Why does external focus help with creativity?

A

Like thinking about how the garden feels to a visitor, external focus unlocks your ability to create expressive music.

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34
Q

How does practicing with external focus feel?

A

It’s like planting with the vision of a vibrant garden in mind—it’s fulfilling and productive.

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35
Q

Why might internal focus feel ‘natural’ but not helpful?

A

It’s like worrying too much about weeds while forgetting the garden’s overall beauty.

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36
Q

How does focusing on sound help guitar practice?

A

It’s like letting the fragrance of flowers guide your planting—you play for the result, not the process.

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37
Q

Why does internal focus slow down progress?

A

It’s like checking every root constantly instead of trusting the plant to grow.

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38
Q

What’s the role of ‘musical expression’ in training?

A

It’s the colors and textures of your garden—it makes your music stand out and resonate.

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39
Q

Why does external focus improve technical skills?

A

Like tending to the garden as a whole, it creates smoother, more efficient movements without overthinking.

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40
Q

How can a guitarist practice with external focus?

A

Imagine the audience ‘smelling the flowers’ of your music—focus on the sound you’re producing, not finger placement.

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41
Q

What is the danger of too much internal focus?

A

It’s like over-pruning a plant—you might lose the natural beauty of the music.

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42
Q

How does external focus affect stage presence?

A

Like inviting someone to walk through your garden, it makes your performance more confident and engaging.

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43
Q

How does external focus reduce anxiety?

A

It’s like focusing on how the garden will thrive, instead of worrying about every small mistake during planting.

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44
Q

What’s the best way to balance technical and expressive practice?

A

Focus on how your garden grows overall, not just how perfect one flower is.

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45
Q

Why is external focus helpful during high-pressure performances?

A

It’s like showing off your garden to guests—you care about their experience, not just the mechanics of planting.

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46
Q

How can guitarists overcome ‘stage fright’?

A

By shifting attention to the audience’s enjoyment of the music—like imagining their delight walking through your garden.

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47
Q

How can teachers promote external focus in their students?

A

Guide them to imagine the audience enjoying the ‘fruits’ of their practice instead of focusing on finger placement.

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48
Q

What’s the connection between flow and external focus?

A

It’s like letting the plants grow naturally while you nurture them—you trust the process.

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49
Q

How does the habit of external focus help automate skills?

A

It’s like learning to garden without overthinking each step—your hands just know what to do.

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50
Q

Why is self-consciousness harmful in practice?

A

It’s like being so afraid of weeds that you stop planting entirely—it blocks progress. Make it about the music and the listeners not about you. Music is also about giving.

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51
Q

How does external focus improve both technical and expressive guitar playing?

A

Like focusing on a healthy garden, it balances detailed care with big-picture creativity.

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52
Q

Why is it important to play ‘for the sound’ in practice?

A

It’s like planting for the beauty of the flowers rather than just the act of digging.

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53
Q

How can external focus boost learning speed?

A

It keeps practice efficient and focused on end results rather than on you.

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54
Q

What should a guitarist focus on during performance?

A

The audience’s experience of the music—like imagining the joy of someone walking through your garden.

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55
Q

Why do internal and external focus affect performance differently?

A

Internal focus is like micromanaging every plant; external focus trusts the garden to bloom naturally.

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56
Q

How does external focus reduce mistakes?

A

Like trusting the soil to nourish the seeds, it frees your mind to focus on the bigger picture.

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57
Q

What’s the overall lesson from this study for guitarists?

A

Train your mind to care about the garden’s beauty, not just the mechanics of planting—and your music will flourish.

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58
Q

What is attentional focus in guitar practice?

A

It’s like deciding whether to focus on laying each brick perfectly (internal) or imagining the completed house (external).

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59
Q

What is internal focus in guitar practice?

A

It’s like concentrating on how to hold the hammer and place each nail—control of minute details related to your body movements can paralyze you.

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60
Q

What is external focus in guitar practice?

A

It’s like picturing how the entire house will look when finished and working toward that vision.

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61
Q

Why is external focus better for learning guitar?

A

Like building with the final structure in mind, external focus helps you work smoothly and efficiently.

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62
Q

How does internal focus affect learning?

A

It’s like overthinking every hammer strike—it slows progress and disrupts the rhythm of construction.

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63
Q

What does focusing on sound quality mean in guitar practice?

A

It’s like ensuring the house is sturdy and beautiful for the people who will live in it.

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64
Q

Why does external focus help with confidence?

A

It’s like stepping back to see the walls rising—you feel progress and are motivated to keep going.

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65
Q

How does external focus affect emotional experience during practice?

A

Like seeing a clear blueprint, it makes the process more enjoyable and less frustrating.

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66
Q

Why might internal focus feel natural but be less helpful?

A

It’s like micromanaging each brick without trusting the overall plan.

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67
Q

What’s the main difference between internal and external focus?

A

Internal is about technique (the tools), while external is about results (the house).

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68
Q

How does external focus improve practice retention?

A

It’s like building on a solid foundation—your skills are more likely to stick and transfer to new challenges.

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69
Q

Why is external focus better for technical precision?

A

Like focusing on aligning the whole wall, it ensures small details fall into place naturally.

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70
Q

What should you focus on when practicing difficult passages?

A

The sound you want to produce, like visualizing the finished house, instead of obsessing over each finger movement.

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71
Q

How can external focus reduce frustration in practice?

A

It’s like working toward a clear goal rather than worrying about every tool in your toolbox.

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72
Q

How does external focus make learning faster?

A

Like working with a blueprint, it organizes your efforts and avoids unnecessary steps.

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73
Q

How does internal focus cause ‘paralysis by analysis’?

A

It’s like overanalyzing how to hold a tool, which slows progress and makes the task harder.

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74
Q

What’s the impact of external focus on creativity?

A

Like decorating the house for future inhabitants, it encourages expressive and unique playing.

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75
Q

Why does external focus feel more fluid?

A

It’s like trusting the hammer to swing naturally as you follow the plan.

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76
Q

What can external focus do for stage performance?

A

It helps you present the house to an audience with confidence, instead of worrying about hidden flaws.

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77
Q

How does external focus affect mood during practice?

A

Like watching a house come together, it creates positive feelings and reduces frustration.

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78
Q

Why is self-efficacy higher with external focus?

A

Like seeing progress in construction, it boosts confidence in your ability to succeed.

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79
Q

How does external focus reduce self-consciousness?

A

It’s like focusing on the house’s beauty instead of worrying about your hammering skills.

80
Q

Why is practicing for sound projection effective?

A

Like ensuring the house is sturdy from afar, it prepares your music to resonate with the audience.

81
Q

How does external focus help with consistency?

A

Like following a clear construction plan, it makes your playing more reliable.

82
Q

Why is positive mood important for learning?

A

Like enjoying the building process, it enhances memory and makes you eager to return to practice.

83
Q

How can external focus make repetitive practice more enjoyable?

A

It’s like imagining the house getting closer to completion with every brick laid.

84
Q

Why does external focus improve adaptability?

A

Like building skills that apply to different projects, it helps you adjust to new musical challenges.

85
Q

How can external focus improve your sound quality?

A

Like ensuring every room in the house feels welcoming, it makes your music more expressive and polished.

86
Q

What’s the overall lesson for guitarists?

A

Build your practice like a house: focus on the big picture, trust your tools, and let the details fall into place.

87
Q

What is attentional focus in guitar practice?

A

It’s like deciding whether to focus on how you pull the bowstring (internal) or where the arrow will land (external).

88
Q

What is internal focus in guitar playing?

A

It’s like focusing on how your fingers move on the fretboard, like concentrating on how your hand grips the bowstring. Focus instead on the details of the desired end result: the sounds, expressions, and feelings of the song.

89
Q

What is proximal external focus in guitar practice?

A

It’s focusing on the vibration of the strings, like watching how the arrow leaves the bow.

90
Q

What is distal external focus in guitar practice?

A

It’s focusing on the sound reaching the audience, like aiming at the bullseye and imagining the arrow hitting it.

91
Q

Why is distal external focus often better for accuracy?

A

Like aiming at the target, focusing on the sound’s projection improves consistency and precision.

92
Q

How can overthinking harm guitar playing?

A

It’s like worrying about the bowstring’s tension while shooting—the distraction throws off your aim.

93
Q

Why does focusing on the outcome help under pressure?

A

Like visualizing the arrow hitting the target, it shifts attention away from self-doubt.

94
Q

When is internal focus helpful in guitar practice?

A

It’s useful for learning new techniques, like perfecting your grip before aiming an arrow.

95
Q

How can external focus improve fluidity?

A

Like pulling the bowstring without hesitation, it lets your body move naturally toward the goal.

96
Q

What does focusing on the quality of a note do?

A

It’s like aiming for the target’s center—your attention is on creating the perfect result.

97
Q

How does external focus make practice more enjoyable?

A

Like celebrating when an arrow hits the target, it keeps you motivated by focusing on success.

98
Q

Why does external focus reduce mistakes?

A

It’s like trusting your instincts to aim rather than micromanaging every step.

99
Q

What should you focus on during fast passages?

A

The overall flow and sound, like visualizing the arrow’s path to the target.

100
Q

How does pressure affect focus?

A

Under pressure, focusing on the audience’s experience, like aiming for the bullseye, reduces anxiety.

101
Q

What’s the key to better accuracy in difficult sections?

A

Focus on how the notes project, like focusing on the arrow’s flight, not your bow-hand movements.

102
Q

Why is internal focus more tiring?

A

Like repeatedly adjusting your bow grip, it demands constant mental effort.

103
Q

How can external focus make transitions smoother?

A

It’s like shooting multiple arrows smoothly toward the same target, with no hesitation.

104
Q

What’s the role of self-efficacy in guitar practice?

A

Like believing you can hit the target, confidence grows when you focus on outcomes.

105
Q

How can external focus make practice less frustrating?

A

Like aiming at a clear target, it gives you a clear goal to aim for.

106
Q

Why does external focus build consistency?

A

Like aiming at the same target every time, it creates repeatable success.

107
Q

How does external focus reduce performance anxiety?

A

Like focusing on the target, it draws attention away from self-consciousness.

108
Q

Why is focusing on sound quality effective on stage?

A

It’s like visualizing a perfect shot—it aligns your movements with the desired result.

109
Q

What happens when focus shifts to the audience?

A

Playing for spectators makes your playing more expressive and engaging.

110
Q

How can guitarists use positive cue/trigger phrases?

A

Use reminders/mantras like “project the sound” to stay focused on the end goal, like saying “straight flight” for an arrow.

111
Q

How does distal focus help with dynamics?

A

It’s like controlling the arrow’s speed to hit the target softly or with force—focus guides your energy.

112
Q

What’s the best focus for fluid phrasing?

A

Imagine how the phrase sounds as a whole, like the arc of an arrow in flight.

113
Q

Why does external focus reduce self-doubt?

A

Like trusting your aim, it frees you from worrying about every little movement.

114
Q

How does focus affect muscle memory?

A

External focus helps refine movements naturally, like shooting arrows repeatedly at the same target.

115
Q

Why does external focus make practice more productive?

A

Like hitting the bullseye, it gives immediate feedback on your progress.

116
Q

What’s the ultimate lesson from this approach?

A

Aim your practice like an arrow—focus on the target, trust your technique, and let the result guide your adjustments.

117
Q

What is external focus in guitar practice?

A

It’s concentrating on the sound or audience perception, like how your music fills the room.

118
Q

What is internal focus in guitar practice?

A

It’s focusing on the bodily aspects, like the position of your fingers or how you hold the pick. It handicaps you because you cannot micro-manage performance flow.

119
Q

Why is external focus better for performance?

A

External focus leads to more fluid, accurate playing by reducing overthinking and micromanagement.

120
Q

How does external focus improve accuracy?

A

It allows your movements to align naturally with the goal of creating great sound, improving precision.

121
Q

Why does internal focus hinder performance?

A

It disrupts natural motor control by forcing you to consciously manage details, creating tension.

122
Q

How does external focus affect consistency?

A

It promotes reliable playing by reducing variability in movements.

123
Q

Why does external focus reduce anxiety?

A

It shifts your attention away from yourself and toward your music, easing self-consciousness.

124
Q

How does external focus increase confidence?

A

Focusing on the audience’s experience or sound quality makes you feel in control of the result.

125
Q

How does external focus enhance creativity?

A

It frees mental space for musical expression instead of body control worries.

126
Q

Why is external focus important in dynamic playing?

A

It ensures your energy and emotions are directed toward the sound, not your hand movements.

127
Q

How can you focus on sound quality while practicing?

A

Visualize how your notes project into the room or audience, rather than your finger movements.

128
Q

What is a good mental cue for external focus?

A

Think, ‘How does this sound?’ rather than ‘How are my hands moving?’

129
Q

How can you use recording to promote external focus?

A

Play as if you’re recording for someone else and concentrate on how the music will sound to them.

130
Q

How does focusing on phrasing create external focus?

A

It directs your attention to shaping the musical line, not technical execution.

131
Q

How can visualization help maintain external focus?

A

Imagine your music traveling to the back of the hall or through a speaker to an audience.

132
Q

What should you think about during difficult sections?

A

Focus on the tone and fluidity of the passage, rather than how your fingers are shifting.

133
Q

How can practicing with a backing track encourage external focus?

A

It forces you to listen to the music’s overall balance instead of focusing solely on yourself.

134
Q

How can focusing on articulation promote external focus?

A

Pay attention to how crisp or smooth your notes sound instead of finger precision.

135
Q

How does imagining the audience help with external focus?

A

It makes you think about their experience of the music instead of worrying about your technique.

136
Q

What’s a simple cue to stay externally focused during scales?

A

Think about how evenly the notes resonate, not the individual finger movements.

137
Q

Why does external focus reduce tension?

A

It allows your body to move naturally, avoiding over-control of muscles.

138
Q

How does external focus improve muscle memory?

A

By focusing on the goal, your brain automates the details of movement.

139
Q

Why is external focus better under pressure?

A

It keeps you connected to the music rather than getting trapped in self-critical thoughts.

140
Q

How does external focus improve speed?

A

It enables smoother transitions by reducing mental interference with technical execution.

141
Q

Why is external focus helpful for long practice sessions?

A

It prevents mental fatigue by directing your energy toward the music, not the mechanics.

142
Q

How can focusing on the emotional content of music create external focus?

A

It shifts your attention to the message you want to convey, not how your body is playing it.

143
Q

What’s a good way to stay externally focused while performing?

A

Imagine the sound painting a picture for the audience, rather than focusing on your hands.

144
Q

How can you use dynamics to promote external focus?

A

Experiment with volume and touch to explore how it changes the mood of the music.

145
Q

What should you remind yourself during practice to stay externally focused?

A

‘Play for the listener, not for yourself.’

146
Q

Why should guitarists practice external focus early?

A

Building this habit ensures you develop fluid, expressive playing without being trapped in technical details.

147
Q

What’s the kryptonite of a great guitar performance?

A

Overthinking your fingers. Focusing too much on technique (internal focus) tightens you up, like a machine trying to run with sand in its gears.

148
Q

What’s “internal focus,” and why is it a trap?

A

Internal focus is obsessing over your body—fingers, hands, technique. It’s like trying to walk while staring at your feet and micromanaging every minute part of every step—you forget where you’re going, it will take forever to walk a few feet, and you will be going around in circles.

149
Q

How does internal focus sabotage your performance?

A

It’s a thief of flow. It creates tension, interrupts smooth movements, and makes your music sound robotic instead of alive.

150
Q

What is “external focus,” and how is it different?

A

External focus means zoning in on the music’s sound and the story it tells. It’s like aiming at the bullseye, not the bowstring.

151
Q

Why is external focus a game-changer?

A

It unlocks your brain’s autopilot. Your body knows what to do—external focus lets it shine while you channel your energy into emotion and expression.

152
Q

How does internal focus while playing mess with your muscles and handicap you to no end?

A

It’s like adding static to a radio signal. Internal focus on micro managing your body, hand, and finger movement during practice, repititions, and performance creates tension, killing the smooth, precise motions that skilled playing needs. While for very short moments, to learn a passage or establsh finger positioning, is fine, practicing or performing that way is impossible. Hyper-Focus on the intended result not the minute muscle control mechanincs.

153
Q

What should you focus on instead of your fingers?

A

The music itself. The emotion, the story, the sound filling the room. Let your fingers follow, like shadows obeying the light.

154
Q

How does external focus beat stage fright?

A

It’s a mental shield. By focusing on the music and audience, you silence self-doubt and let confidence take center stage.

155
Q

What’s the golden rule from the research?

A

Think less about how you’re playing and more about why you’re playing—the sound, the mood, the magic you’re creating.

156
Q

Why does external focus improve flow?

A

It hands control back to your muscle memory, and experience, letting you play effortlessly, like water flowing downhill.

157
Q

How can you start using external focus today?

A

Don’t obsess over finger placement. Instead, listen to see how each note travels, like watching ripples spread in a pond.

158
Q

What’s a simple external focus trick for scales?

A

Concentrate on tone and dynamics. Imagine each note is a brushstroke painting a picture, not just a step on a ladder.

159
Q

What’s the power of visualization in practice?

A

Picture yourself playing to a crowd, each note a thread weaving their emotions. This makes your practice feel alive.

160
Q

Why should you record yourself often?

A

It’s like holding up a mirror to your playing. You’ll catch dull tones or uneven rhythm and learn to polish them.

161
Q

How does overthinking hurt your precision?

A

It’s like trying to manually control a self-driving car. Let go—trust your body to do what it’s been trained to do.

162
Q

How can external focus boost confidence?

A

By focusing on sound and audience, you forget self-doubt. You’re not just playing; you’re giving a gift.

163
Q

How does thinking like a storyteller help?

A

Your music becomes more than notes. It’s an adventure, and your guitar is the ship carrying listeners to another world.

164
Q

How does improvisation sharpen external focus?

A

Improvising makes you listen and respond. It’s a conversation with your guitar, not a mechanical routine.

165
Q

Why are dynamics key to emotional playing?

A

Think of dynamics as your voice—whispers, shouts, and everything in between. They bring your music to life.

166
Q

How do you shift from technician to artist?

A

Stop obsessing over the how and focus on the what. Play like you’re painting emotions, not solving equations.

167
Q

What’s a crucial training objective.

A

Train your ears, not just your hands. Focus on how your music sounds, to you and to others, think of playing like sculpting your music’s shape in the air.

168
Q

What should you prioritize in scale repititions/practice.?

A

Tone and expression. Imagine each note is a spark, lighting up the room.

169
Q

How does recording help?

A

It’s your personal coach, catching imperfections you can’t hear in real-time. Focused listening helps you learn to focus on the musical result rather than your body mechanics and movements.

170
Q

How can one visualization strategy improve your practice?

A

Picture the audience leaning in, every note pulling them closer to your music.

171
Q

What’s the major goal of developing and strenghtening external focus?

A

Make your playing natural and expressive—like the music is flowing straight from your soul.

172
Q

What’s a key phrasing goal for a fingerstyle song or arrangement?

A

Learn fingerstyle pieces and shape them with phrasing, like crafting sentences in a poem.

173
Q

How does external focus improvisation help?

A

It frees you from rigid thinking, letting your creativity steer the ship.

174
Q

Why is playing for friends important?

A

It’s like testing your wings before you take flight. Real people make practice feel real.

175
Q

What’s the mindset for Phase 2?

A

Play as if you’re speaking directly to someone’s heart.

176
Q

What’s the focus of Phase 3 (Weeks 9–12)?

A

Build confidence under pressure and make your music bulletproof.

177
Q

How can single-take recordings in Phase 3 help?

A

They simulate live performance, sharpening your ability to adapt and recover.

178
Q

What’s the benefit of an “imaginary audience” in Phase 3?

A

It keeps your focus outward, connecting you to the music instead of your nerves.

179
Q

Why experiment with dynamics in Phase 3?

A

Dynamics are your music’s heartbeat, turning flat performances into living, breathing moments.

180
Q

How do you handle mistakes in Phase 3?

A

Embrace them. They’re part of the story you’re telling.

181
Q

Why is Phase 3 like a dress rehearsal for greatness?

A

You practice performing—not just playing—so you’re ready to shine under any spotlight.

182
Q

How does external focus unlock your brain’s potential?

A

It clears mental clutter, letting your instincts take the wheel, like a hawk soaring on autopilot.

183
Q

What happens when you focus on sound, not technique?

A

Your playing becomes smooth and organic, like a river flowing without resistance.

184
Q

How does external focus handle stage fright?

A

It’s a lifeline—by focusing on the music, you drown out fear.

185
Q

Why is overthinking like quicksand?

A

The harder you try to control every detail, the more you sink.

186
Q

How does external focus sharpen your precision?

A

It trusts your body to do what it’s been trained to do, like a dancer lost in the rhythm.

187
Q

What’s your ultimate mission as a guitarist?

A

To create magic that moves people, not just play perfect notes.

188
Q

How should you view mistakes in performance?

A

Like cracks in a stained-glass window—they’re part of the beauty.

189
Q

Why is trust in your training important?

A

It lets you let go, like a tightrope walker trusting the rope.

190
Q

What’s the best way to stay calm on stage?

A

Focus on giving the audience an experience they’ll never forget.

191
Q

Why is micromanaging your fingers a mistake?

A

It’s like steering a race car at 10 mph—unnecessary and frustrating.

192
Q

How does storytelling elevate your playing?

A

It transforms notes into emotions, turning listeners into adventurers.

193
Q

What’s the secret to practicing dynamics?

A

Treat them like a painter’s palette—light, dark, and every shade in between.

194
Q

How can you prepare for real-life performances?

A

Practice like you’re already on stage—one take, no excuses.

195
Q

What’s the ultimate power of external focus?

A

It frees you to create, connect, and perform like your true self.

196
Q

How should you think about your guitar?

A

It’s not just an instrument—it’s your voice, your paintbrush, your magic wand.