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Using EFT to conquer jitters for musicians

Important Note: This article was written prior to 2010 and is now outdated. Please use my newest advancement, Optimal EFT. It is more efficient, more powerful and clearly explained in my free e-book, The Unseen Therapist™.  Best wishes, Gary

Hi Everyone,

Ruth Bonetti from Australia uses EFT for music performance with stellar results.

Hugs, Gary

By Ruth Bonetti

Hi, Gary,

Using EFT has shown remarkable results in my workshops to help speakers and musicians who suffer jitters, shakes and dry mouth when performing in public.  Particularly stunning have been the improvements with musicians, who coordinate so many aspects that can fall apart through nerves.

Recently I visited a regional conservatorium to give students a workshop called “How to Prepare for Confident Performance” followed by a concert for students to play for parents and friends.  After this I was to debrief and give further feedback and tips.

One pianist, Bethany, was so nervous that she stopped and started and could barely get through her Scott Joplin rag.  She bolted from the piano looking shattered.  I thought, “She will probably slink home in a mess of self-sabotage, so I won’t wait until later to give the feedback.  It's a risk but I'm taking this on now, rather than wait for the end of the concert."

So I asked if she'd mind trying a rather “wacky” experiment (these are not specifically EFT workshops but I incorporate the techniques amongst others) saying I risked looking more stupid than she if it didn't come off - but I knew deep down it would.  We did some tapping around: Even though I have memory blanks and stop and start and make a fool of myself...  

Then she sat down at the piano and not only sailed through the piece note-perfect without a glitch, but also played musically with rich tone and wonderful expression.  Even my jaw dropped at the incredible difference!  The whole audience stamped and clapped wildly.  After she played her major Year 12 exam program the next week, her teacher emailed me that Bethany busily tapped and affirmed before performing, then played brilliantly.  Especially, she gave a “flawless performance” of the Scott Joplin!

In subsequent workshops with teenagers, I’ve realized that it helps to simplify the wording for accessible, natural results.  A clarinetist, Jess, ignored my words “totally and utterly love and appreciate myself” and substituted “I like myself.”  Her improved performance showed the words don’t matter so much as long as the intention is positive!

In a recent workshop for teenage boys preparing their final year school music performances, a trumpeter found his own version: “Even though I stuff up and crack notes I still rock!”  The other 16 and 17-year old boys roared approval and “I rock” became a theme song and mantra through the whole session.

I’ve discovered through talking with youngsters after such workshops that those who observe their colleagues’ improved performance gain just as much assurance for their own playing and many take the techniques away and experiment in their home practice. Having both seen and HEARD the incredible improvement makes a powerful learning tool that is changing lives as well as performances.

Ruth Bonetti


Explore our newest advancement, Optimal EFT™, by reading my free e-book, The Unseen Therapist™. More efficient. More powerful.