Tips on preparing for a
performance
(Written by Paul Owens from Sydney
Technical High School)
Performance, like all areas of music,
offers almost endless possibilities. It is not always easy to find the answer
or an easy answer to the problem of playing your pieces more musically. There
are, however, several things you can do over time that will make a difference.
In short, try to:
1. immerse yourself in the world of performance - the
people, environment, standards, behaviour, equipment, attitudes, creativity,
routines. Work with your friends, peers, community groups and observe others
performing wherever and whenever possible.
2. be an active rather than passive student of
performance. You are a vitally important part of the teaching process and
therefore will continually learn from personal and self-observations. To make
the experience outlined in point (i) worthwhile, you must be prepared to
question, analyse, dissect and investigate at all times.
3. experiment with and incorporate features from the
lessons that you have learned. Share your ideas and findings with teachers,
fellow performers etc.
The three points above are
interrelated. One without the other is of limited value. It is too easy in
music to simply enjoy a performance, but learn little from it. That is,
experience by itself is not enough. Ask questions such as:
- How were those passages so beautifully phrased?
- Why were there minor tempo changes in that section?
- Where were the articulations longer or more emphasised?
- When were particular performance techniques employed?
- Who directed performance changes or played the dominant role?
Take notes, pose questions, argue and
debate with others; simply, get involved!
Getting
'involved'
Find recordings and listen to live
performances
Find recordings and listen to live
performances of artists playing your instrument type. You will observe and
absorb the attributes and subtleties of performance, e.g. phrasing, tone,
articulation etc. Make observations/notes and deliberately incorporate these
findings into your performance practice.
Listen to experts
Listen to experts performing on all
instruments. Important understanding of interpretation and performance practice
is not exclusive to any one instrument. Become familiar with the best
performance standards. You have a far greater capacity to learn by modelling
and imitation than you probably imagine. You will absorb many performance
nuances and also learn a great deal about style by listening (and watching) the
best performers.
Collect other versions
Where possible, collect two or more
versions of the same piece (if possible, the repertoire your performing). A
comparative analysis will quickly prove that performance is more than decoding
notes; it is a highly individual and interpretative art.
Observe rehearsals
Observe rehearsals whenever possible.
Concert performance provides a product; rehearsal will help provide the
processes behind that product.
Work with your teacher
Work with, not simply for, your
teacher(s). Be prepared to generate discussion and bring your own
findings/thoughts to the lesson.
Vary the perspective
If possible, organise occasional
lessons with different teachers, including those of different instruments
(violin teachers may offer the trumpet student many valuable insights and vice
versa). All teachers have different strengths and perspectives from which they
instruct and you can provide the means of connecting valuable pieces of advice.
Bring other musical knowledge into your
performance
Relate other learning experiences to
performance. For example, composing requires you to think of how a phrase would
best sound, i.e. how it could be best performed to maximise its impact.
Apply the insights you gain as a
composer to the way you play your repertoire.
Prior knowledge is vital when constructing
new understanding. Be prepared to build skills gradually and research
background information either through listening or accessing other sources such
as texts, experts or multimedia.
Performance
tips
Articulation
Give close attention to the attack and
release of notes, in particular, those at the beginning and end of phrases. The
decay of a sound is often given little attention. Whether a note should taper
or immediately cease with a definite or indefinite (evaporate) close are
important interpretative decisions.
Phrasing
Plan and mark the preferred phrasing on
the music. Remember that under the stress of concert performance, it is very
easy to phrase by convenience rather than artistry (especially if a wind player
running short of air).
Dynamics
Marked dynamics are often an average
volume that permits minor personal shifts within the phrase, providing the
structural shape and interpretive quality required.
Performance practice
Make yourself familiar with
style-specific performance practice. Much of how music is interpreted was and
is left unwritten, whether in a Baroque sonata or jazz. It is not difficult to
source information (electronic, text, teachers, performers) regarding stylistic
conventions, authentic practices etc. Try to be as faithful to stylistic
requirements as possible.
Communication
All music is communication. You need to
know what messages your piece imparts and what messages you wish to convey.
Otherwise it is like speaking a language in which none of the words are
understood (even if clearly pronounced). Technical control or even brilliance
is not an end in itself. It serves the intent of the composer to construct a
meaningful musical moment in which you are the translator adding the
appropriate nuance and inflection (no different to adding facial expression and
changing intonation when reading literature).
Tension and release
Music operates around moments of
building tension and its release. Look within each phrase for the moment(s) of
greatest tension and how they may resolve. Build this structural understanding
into your performance through changes of dynamics, articulation, tempo, tone
colour etc.
Technical considerations
Never neglect fundamental technical
elements, e.g. pedalling, developing range or shifting hand positions. They are
not important in themselves, but good phrasing and interpretation are
impossible without securing these elements.
The whole
Understand the whole work. The
performance of the soloist's part, or for that matter any part, is dependent on
an understanding of the relationship between all parts. For example, the
dovetailing of a soloist's phrase to allow an accompanying instrument to be
heard as part of an answer or phrase transition.
The musical concepts
Look for direction in the foundations
of the piece, i.e. the concepts. A harmonic understanding of a work will often
suggest critical phrases or even pivotal points within a phrase that soloists
should consider in the interpretation of their line. An overall structural
familiarity will help emphasise contrasts and maintain interpretative
consistency.
Expressive markings
Find concrete ways of translating
abstract thoughts or directions. It is easy to ask someone to play
"majestically" and to think majestically whilst playing the passage,
but what does this really mean in terms of actually performing the music?
For example, should notes be generally
longer, tempo a little slower, volume somewhat louder, bass levels rebalanced,
each note more sharply sounded? Views will differ about exact meaning, but at
least have a tangible translation of these expressive markings to work by.
Plan your rehearsal
Plan your rehearsals and practice time.
Playing, repetitively and/or without purpose, may improve your standard to a
certain level, after which gains are minimal. Deliberate and well-planned
practice that incorporates shorter and longer term goals will more likely lead
to continual and sustainable improvement. Write your goals down and modify if
necessary. The crucial point is to commit to those actions that will bring
maximum improvement.
Each practice should have breadth,
depth and variety. Cover a range of material from technical work, studies,
light reading of new works to the intense practice of major pieces. Try to keep
practice balanced and enjoyable.
Keep in mind some basic principles of
learning when organising practice sessions:
- try to master successive sub-parts which will lead
to a successful final product
- repetition should be based on meaningful learning (a
purpose), not simply rote learning alone
- distributing practice over a number
of sessions (even twice a day at times) is more effective than practising
the same material in longer and fewer sessions
- practice sections both in total and in smaller parts;
both aid learning in different ways
- it is highly beneficial to learn some material to the point where
it is automatic and conscious thought is no longer
required (scales etc). In this way, your mind is free to handle other
interpretative aspects rather than the mundane requirements of producing
notes
- change the starting point at
which you practice particular sections and passages to avoid an over
reliance of the memory on a specific sequence of notes or sections. Memory
is also more effective at the beginning and end of a passage when trying
to learn something new
- expertise is developed over time; it is
not an accident of birth. Experts have built up a far greater and richer
network of concepts in memory and have a developed understanding of the
procedures to analyse and reproduce high performance levels.
Playing from memory
Occasionally memorise performance
pieces and then concentrate on listening to your performance, making
adjustments where necessary. Freedom from written notation gives another
perspective to what you play as long as memorising does not produce robotic or
cloned performance.
Evaluate
Evaluate your performance. Have others
listen and constructively comment and regularly record your performance. Get as
much feedback as possible. Perception of our own performance may vary greatly
from that of others. You are the final judge and of course do not have to
accept all suggestions, but equally, you will benefit from carefully
considering all advice.
Know your instrument
Know the idiosyncrasies of your
instrument. What notes are naturally sharp/flat, where does the tone colour
tend to change and in what keys is the performance more flexible/facile, what
is the natural projection in different registers etc? Intonation is a problem
peculiar to most instruments and its correction needs gradual training, attention
to its effects and a sound knowledge of the instrument.
Learn from your mistakes
Welcome mistakes and then fix them. So
much of learning arises from the errors we all make. It is important to remain
receptive and positive to mistakes as markers for future improvement. Healthy
evaluation stimulates progress, while excessive self-criticism raises anxiety
and creates unrealistic expectations.
Near enough is not good enough
Aim for perfection. Most performers
practice a piece until it is 70%-80% right. We usually do not analyse it in
this way, nor do we readily recognise the imperfections that exist. But, for
examination purposes try, over time, to get as close to 100% as possible. This
may mean your expectations and definition of 100% may also need to develop/change.
Tempo
Practice slowly at first and gradually
build tempos to performance markings. Do not be obsessed with speed; clarity at
a slower tempo is superior to a blemished and garbled performance at the marked
tempo.
Sight reading
Develop sight reading skills, it will
provide you with quick access to a wide range of new music and consequently new
musical understanding.
Music is not a static art form
Recognise that music is an active, not
a static art form. Its perception is related to time and how sound is organised
in relation to it. Mature players use time to their advantage in a number of
ways, e.g. altering tempos to emphasize structural contrasts; allowing the
pulse to be elastic and shape phrases; treating note subdivisions less strictly
mathematically and more as expressive opportunities.
Repertoire choice
Select the type of piece carefully.
Perform a piece that displays your skills to the greatest degree. You may like
a particular piece very much, but that does not mean it is the best example for
the purpose of examination. Also, your piece should be suitable or translate
well for your instrument, not simply something you like or have conveniently
found.
Technology
You control the technology (not vice
versa). Be sure that it enhances a performance, not screens or interferes with
the essential communication or focus of the performance. Double check it is
working and preset.
Projection
Project your intentions through your
music and demeanour. Your presentation should contain energy, commitment,
enjoyment, excitement, atmosphere etc. If you look bored, you can be sure the
audience will react accordingly. Similarly, don't react negatively if things
don't quite go according to plan. Mistakes (often very inconsequential) may be
amplified by your actions but otherwise little noticed by the examiners. Errors
become far more obvious when you sigh, look anguished, temperamentally turn
your music or shriek in the middle of the performance!
The performance space
Think more of a concert hall than your
bedroom when preparing for performance. Practice in large spaces frequently (or
at least similar to the area in which you will be examined) and adjust the
volume, setting, stage presentation to suit.
Warm up
Always fully warm up before performing.
Playing an instrument is as much a physical as intellectual/emotional
experience. Do the right thing by your muscles, which are unlikely to fully
cooperate unless prepared for performance.
The performance order
Consider performance order of
repertoire carefully. Factors such as fatigue, accessibility of pieces,
stylistic and expressive balance, logistical changes etc will potentially
change the best sequence of pieces.
Control the total performance
It is in your best interests to control
the total performance. Listen to, or record your ensemble performances and
ensure that all players are working towards the best result. You will be the
only one given a mark, but there is little chance of creating the best result
if other performers do not complement or enhance your efforts. Always be in
control and don't allow others/friends to dictate how the performance should
sound. Working with an ensemble or accompanist also takes considerable
practice. You have to develop a rapport and understanding beyond simply
interpreting the notation.
Tune before you start
Tuning and intonation are vital
components of any performance. You start at a disadvantage if, for example,
your guitar is out of tune or trumpet not in tune with the piano.
Overcoming
Nerves
No matter how you perform in practice,
for some people all the effort is undermined once they are placed in an
examination or concert situation. Understanding anxiety and the nervous
response will help ensure it does not negatively affect you.
Prepare thoroughly
The knowledge that things are not quite
right will quickly translate into a flawed performance. Concern begets concern
and one fault can quickly spread errors to other facets of the performance.
Perform frequently
New situations generate anxiety while
familiarity with positive experiences allows us to remain calm and anticipate
problems. Therefore, perform, perform, perform, for anyone who will listen.
Take every possible opportunity (for family, friends, school
assemblies/functions) to make performance a familiar and knowing experience.
Practise difficult passages
Correctly practise any difficult
passage, not once, but many times. The probability that you will reproduce the
correct version in concert will then remain in your favour.
Remain mentally focused
Any lapse or allowing for other
thoughts in your mind will potentially result in distraction and cause
problems. This skill takes practice and concentration. You must have an
overwhelming image of the outcome you're trying to produce and the desire not
to be diverted from the end result.
Cultivate mental toughness
Make sure you know what you want and
how to get it. Forget illusions such as "I shouldn't have made a
mistake" and accept genuine criticism as an opportunity to improve and
bring you closer to your goals. Have faith in your ability and the standards
established in rehearsal. After all, it is your performance and nothing is
going to stop you from doing well!
Select the level of piece carefully
The piece you select has to be of a
standard that can be attained and will remain secure under the rigours of
examination. Continuity of performance is vitally important. Music only makes
sense over time. Performances continually disrupted by minor breaks and
blemishes will not create a desirable result.
Maintain your composure
Don't approach your performance in a
hurried or flustered fashion, e.g. playing the first sound on the keyboard
whilst still adjusting the stool. Take your time and construct a 'frame' in
which you are mentally and physically ready and the performance will be appropriately
received.
Deal with stress
General fitness, rest and a healthy
diet help negate the effects of stress.
