Rehearsal Tips

1999 Region I AGO Convention
Worcester, Massachusetts June 27-30, 1999

Rehearsal Tips... for both organ practice as well as choirs.

by Will Sherwood, AAGO, ChM

Often we get so caught up in the panic of preparing a piece in a hurry, that we fail to step back and see if there might be an easier or more effective (maybe even enjoyable!) approach to practicing.
Here're some points to help you examine your tecnhiques:

Be alert and listen for mistakes. Too often we are tired or pressured and want to hear the right notes, or tell ourselves that we'll come back to fix something later. Be disciplined to take the time to examine a mistake more closely. (David Higgs calls it: Making friends with wrong notes)
When you hear a mistake, stop and deduce why it happened in order to focus on how to prevent it in the future-- by all means, don't learn the mistake by having repeated it. Mistakes can be due to:
- not paying attention; random occurrence; miscommunication/misunderstanding
- un-awareness-- not looking closely enough at the music, for instance, or believing that it's another way in your mind.
- Wrong/inappropriate fingering- it's just not technically reasonable
- new awareness-- just realizing that a part needs to be a certain way
- you need a reminder written in the music (don't be shy about marking up your scores-- all of us need emphasis reminders; tip: use yellow sticky notes or write over scotch tape where you need to erase a lot)
- reminder notation that you had written in the music was not effective because:
- it's become routine (you've acclimated to it)
  
  it's not visually eye-catching (suggestion: use colored pen, colored post-it sticky notes, sticky arrows, diagonally oriented lines or text to draw attention)
  
  you don't have a standard convention that you use, such as the proverbial eyeglasses symbol, or phrase/accidental/piston/manual notation marking.

Adopt a convention for yourself and stick with it. (e.g., it doesn't matter whether you use triangles or squares for general pistons, just stick with one system so there's never any doubt or hesitation in the heat of the battle)

Know when to interrupt the playing/singing of a phrase for analysis/correction:

too frequently may be:

frustrating and tiresome and seemingly nit-picky

psychologically demotivating (negative messages, breaking down confidence because something's always wrong)

lose the musical line concept or goal

if choral, balance interruptions by marking your score (with pencil, sticky arrows, write page/staff # on a separate list,

or simply hold your non-conducting hand on the spot)

and come back to the list, either in order (forward or reverse), or order of priority

if keyboard, put yellow sticky to mark spots needing help; I often mark the upper corner of the page, then I know in the future where to brush up

too infrequently may be:

forget the "mental list" of notes/phrases needing attention

false confidence that the piece is perfect

you're kidding yourself that it's perfect, or overlooking something that does need attention

it may be helpful to intentionally overlook problems in order to:

get the overall "big picture" musical concept of a piece

gain confidence or motivation that it is really worth it to put more time into this piece

treat yourself to getting through a piece

If it's the warm-up rehearsal right before the performance, you need to determine and focus on your real goal of the performance, and...

reflect on the musical (spiritual) concept that you want to present/convey

build confidence and minimize nerves (people perform better with a reasonable level of nerves, i.e., not too shaky)

correct some priority sore points, or particularly visible parts that the audience would really notice

if really shakey, work on "just getting through" the piece, and "recovery" strategies/tactics (if choral, clearly communicate your emergency cues and which part to follow to get back on track).

if choral, teach a few signals that you'll remind them of right before beginning the piece in order to focus the choir on particular musical/mood/relaxation concepts

if keyboard, discipline yourself to focus on your goals and relaxation and avoidances of your weak tendencies.

however, avoid yelling at yourself or the group which might make tension higher and the risk of a poorer performance more likely.

Practice performing-- this may sound strange, but some California-style guided imagery or imagining or positive thinking may help:
- Practice preparing yourself to play: deep breath, a few seconds of meditation. (Watch how athletes prepare to do gymnastics for instance.)
- Visualize yourself (or the group) actually in performance:
  - • what's it like, what might be the distractions/surprises (e.g., coughing, sirens, people walking around, ciphers), what is the lighting (and are there any likely problems due to perhaps an evening performance), what does it smell like (it's better to be prepared not to be distracted by perfumes or the heat-of-the-lights smell)
  - • do a "dry run" so that you can simulate segues between pieces, logistics of bowing & getting the next piece of music ready (and registered), seating/standing of the choir, hearing of pitches, sequence of overall key progressions for each piece in the program
  - • allow the body to fully absorb the music, musical concepts, spirit, and even mechanical sensations in the fingers.
  - • Prepare not to be spooked by a surprise first-time awareness of, for instance, the feel of the keyboard (or sweaty fingertips).
    • Learn how to ignore the desire to cough or scratch, etc.

Think of the qualities of a good teacher, and then be that to yourself. Listen from "afar" and critique yourself objectively, or imagine that you're someone else (friend and "foe"). Tape-record your music. Listen critically. Listen selectively to: phrasing, cleanness, melodic lines, etc. In any case, Listen!

Make a list of your goals and weak spots. Then stick with it to improve.

If slow improvement, then step back and ask why?; what's holding me back?

If there is a persistent problem, one person suggests this (and it may sound silly, but it works for some!): talk to your fingers- "No, don't do that"
Try differing practice techniques such as:

Starting from the last phrase and working backwards (a refreshing approach for choirs too!). This way, by the end of the rehearsal, you can have the satisfaction of ending the piece. Too, we often lose energy by the time we get to practicing the end of a piece, thus start at the end.
If keyboard, use altered (dotted) rhythms, super slo-mo, silent keyboard, counting aloud, change stops/octaves/manuals, piano practice, etc. Don't drill on a section for too long, come back to it later
Play at-tempo only at the beginning and ending of your session, else slow down! Maintain technical accuracy through slow practice. Be aware of the speed limit.
If choral, use combinations of only 2 or 3 parts at a time, or scat syllables instead of the words.

Choose the time of day to match your bio-clock and seasonal energies
Take a deep breath occasionally, correct sagging posture; stretch; take a break.

Happy practicing, and make it enjoyable!

Will Sherwood is Director of Music and Organist at First Unitarian in Worcester, Massachusetts, and describes himself as an avid practicing procrastinator!

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