Imagery II

Each of the seven letters of the acronym PETTLEP relates to elements of a model for performance imagery. This is my interpretation of the model from a musician’s point of view. 

The P stands for the physical nature of imagery. Imagery can be done in a relaxed state, but it is more powerful when you move and rehearse the actual movements. Get your into position to perform on your instrument and make the movements of performing.

 
The E, environment, refers to where the imagery is performed. Ideally, visit the location where you will be performing, taking pictures as needed to remember details, and recreate the location in your mind when you return home. Try Google Maps et al. 

The first T, task, defines the content of the image. It should be appropriate to your skill level and preferences. Imagery is intended to develop real skills; it isn’t a fantasy. 

The second T is timing and refers to the speed of the image. Whenever possible, real-time imagery is preferred because we play music in real time. You may slow an image to focus on a particular detail if needed or when control of the image is difficult and slow motion is needed to correct it. But in general, real time is preferred to enhance the reality of the image. 

Learning is the fifth component of the model. It means that the content of the imagery should be adapted over time as the musician becomes more skilled. This not only refers to physical skills, but also psychological states, such as confidence and motivation. 
The next component is emotion. We live life emotionally, including our relationship to our music. Therefore, for an image to be realistic, the emotions felt during a musical performance must be recreated. Rehearsing and developing the emotional responses you want to feel during a performance is a great target for imagery use. 

Perspective is the final component and refers to the viewpoint of the performer during imagery. There is not a strong consensus on which perspective is better, either first person or third person. First person may be best when rehearsing emotions or breath control. A third-person perspective may be adopted to review form when executing a technical skill or stage entrance. Many musicians report using both and sometimes bouncing between the two. 

Find tips on how to maximise your imagery in my blog ‘Imagery III.’