[ He would very likely demean his own talent if he listened to Connor play, but with no comparison to go by, he curtly nods with a tiny blush over his cheeks.
His steps are a bit slower now that he's got a steady conversation going. ]
Did they elaborate on why your performance would be "stiff"? Was it your pose or the music itself?
The music... it's missing something. Something I can't seem to replicate. It lacks a human's touch, I suppose. I'm at least hoping the more I play, the less I'll focus on sounding perfect and more on just... enjoying the music.
[He's been told that beginners do tend to focus more on sounding good than just enjoying themselves, and he's certainly no exception.]
[ He listen with keen attention. Honestly he can relate a little bit, because he at first did want to be perfect like his father before realizing later on that he was going about it in a completely wrong way. ]
If you have no other reason to play than be perfect, it would sound as though your music has no heart. There needs to be something deeper to it, like what you said - you should want to enjoy the music, for your own sake, and convey your feelings to the listener.
I wouldn't worry about sounding good. So long as you pay attention to what you're playing, even a little, there will be more likeliness of raising positive reactions out of the listener.
[ He smiles gently. Those concerns are valid, but he's trying to gently dispel them. ]
The effect your music might give off depends on who's listening, but its value is universal. If your pose is rigid, try to physically move along with the flow. Close your eyes and try to feel the melody through yourself first. Chances are your listener is also having some sensations, though they might be different from yours.
[ What he told Connor is not much, in his opinion, and the frown doesn't reassure him. But the following suggestion brings a small smile to him after all. ]
Yeah, of course. In fact, I believe it's a lot better if you let me listen to your playing, so I can determine what needs fixing.
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His steps are a bit slower now that he's got a steady conversation going. ]
Did they elaborate on why your performance would be "stiff"? Was it your pose or the music itself?
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[He's been told that beginners do tend to focus more on sounding good than just enjoying themselves, and he's certainly no exception.]
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If you have no other reason to play than be perfect, it would sound as though your music has no heart. There needs to be something deeper to it, like what you said - you should want to enjoy the music, for your own sake, and convey your feelings to the listener.
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[He's no good with failure, or doing something badly.]
I do think I'm having trouble with getting my feelings across using music, though. I'm not sure how to convey it.
[It's not like he's emotionless, he just doesn't know how to get those emotions across.]
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[ He smiles gently. Those concerns are valid, but he's trying to gently dispel them. ]
The effect your music might give off depends on who's listening, but its value is universal. If your pose is rigid, try to physically move along with the flow. Close your eyes and try to feel the melody through yourself first. Chances are your listener is also having some sensations, though they might be different from yours.
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I'll take your advice, then. Thank you.
[The frown disappears again, and he tilts his head a little.]
I'd like for you to watch me play sometime, to help me convey my emotions better. Would that be okay?
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Yeah, of course. In fact, I believe it's a lot better if you let me listen to your playing, so I can determine what needs fixing.