50 | American String Teacher | February 2006 Introduction A young violinist consulted me for treatment of severe performance anxiety associated primarily with solo recitals. Cold, sweaty palms, shortness of breath, increased heart rate, and a marked peripheral tremor conspired to interfere drastically with this musician’s ability to perform at a level consistent with his talent. His response to psychotherapeutic exploration, meditation, deep-breathing, and anticipatory imagery was minimal, and his refusal to resort to pharmacologic interventions (e.g., beta-blockers) compelled me to adopt a novel treatment approach centered primarily on the enhancement of technique. e results of the program of practical exercises that I developed and supervised were impressive: not only were the effects of anxiety mitigated, but the improvement in technical facility was extraordinary enough to merit experimentation with string players generally. My initial hopes were borne out by its efficacy in enhancing the technique of string players who did not suffer from no- table performance anxiety, including violists, cellists, and double-bassists, as well as violinists. Furthermore, during the course of these preliminary trials, certain psychological benefits also became evident, which facilitated the learning of new composi- tions and enriched musicianship. I am now sufficiently confident to present this method in detail in the hopes that it may benefit all string players wishing to develop greater proficiency. The Methodology My initial rationale for devising a method to diminish the consequences of anxiety took into account both physical and psy- chological factors. I reasoned that a reduction of peripheral tremor would occur if muscles associated with very slow and very soſt playing were assiduously trained and conditioned—in other words, if fine muscular control were amplified so as to render less consequential the disruptions caused by “nerves.” Because each player presents with different skills and physical capabilities, no fixed time-table need be assigned for progres- sion through the various stages, although the order in which they are to be practiced should be preserved. As the psychiatric consultant to a major classical music conservatory who has been involved in the development of a series of health education and injury prevention classes, I am keenly aware of the need for students to develop practice habits that are neither physically injurious nor psychologically onerous. I have, therefore, recommended that the exercises described below be undertaken for approximately 15 to 30 minutes daily, 5 to 6 days each week as part of the student’s regular practice schedule. 1 by Emanuel E. Garcia, M.D. A Program for in Players of Stringed Instruments Practical Enhancing Technique