ITEA Journal Volume 49 Number 1 (Fall 2021)

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Polishing Your Preparation:
By Genevieve Clarkson, Steven Darling, Fernando Deddos & Chris Dickey

Final Steps for Recital Performance

As we begin a new academic year, performing a recital could be on the horizon. Performers of all levels prepare diligently in the practice room while striving for a successful performance on the day of the recital. In the two weeks leading up to a recital, it is possible performers may need to alter the structure of their practice routines or their mindset. This article offers personal reflections from a variety of artist-teachers who offer their advice to an aspiring recitalist. Some of this may sound familiar or entirely new. What matters most is readers are encouraged to glean whatever bits of information they find relevant and applicable to them.

Dr. Genevieve Clarkson, B&S Performing Artist

Assistant Professor of Tuba and Euphonium

Oklahoma City University

Two weeks before the recital, do you find yourself changing any elements of your warmup, fundamentals, or practice sessions? If so, how?

GC : I stick to a similar warmup and fundamentals routine but start focusing my practice time on full run-throughs of pieces. I try to break up my practice into two or three chunks throughout the day where one is meant to mimic the performance (as in full run-throughs with brief breaks) and the others are used to touch-up anything that may still need attention. I record the run-throughs, listen back to them, and make to-do lists for when I sit down to practice again. I usually taper off this approach in the last few days before the recital and focus on rest and good fundamentals the day before and day of the performance.

Do you incorporate non-instrument habits into your routine leading up to a recital? For example, activities such as stretching, extra hydration, meditation, cardiovascular exercise, etc.?

GC : Leading up to a recital, I avoid salty food (especially in the last few days before a performance), as I always find that too much salt dramatically affects my flexibility. I also make a conscious effort to drink more water and typically schedule a massage a week or two ahead of time if I can, because that almost always helps me loosen up and breathe more comfortably. I also make sure that I am getting plenty of sleep (but I try to do that anyway!)

Based on your personal experience, has anything gone wrong in your previous recital preparations? If so, what did you learn from those experiences?

GC : I remember one recital where some of my friends were in the audience during my warmup and final check-in with my pianist. A friend made a seemingly lighthearted comment about a mistake I made in that last rehearsal, and I allowed that comment to get in my head and dramatically affect my confidence and composure in the performance. I learned two things from that experience. First, I need some alone time in the hours leading up to a performance so I can take a deep breath and calm my thoughts before going on stage. Second, simply running the piece with piano is not adequate score study and I play more comfortably when I am 100% confident in how my part interacts with the piano.

When teaching students (university-level in particular), what are some common problems you see with their preparation two weeks before a recital?

GC : In my experience, most students go way too hard playing-wise leading up to their recitals and hurt themselves right before the performance. Please, folks: do not cram. If you feel like you are behind, make a specific game plan for the sections you are aiming to improve and force yourself to take regular breaks. Trust me, the stress of frenetic practice will not improve your performance.

How does your preparation change depending on the instrumentalists with whom you are performing? (e.g., with piano, chamber groups, or large ensemble)

GC : I have found that when performing with ensembles, I need to be a lot more proactive about scheduling rehearsals (and extra rehearsals) than I might need to be when working with a single collaborative pianist. Inevitably, something will come up with your chamber groups or larger ensembles and you will have to cancel rehearsals that cannot be rescheduled. The more you can front-load your preparation with one another, the less stressful it is when everyone's schedules become more challenging later in the semester.

How many rehearsals do you like to have with a pianist to successfully perform a solo recital?

GC : I typically like to have two rehearsals plus a dress with a pianist prior to a solo recital, but that can often be a luxury. The key to a good and efficient rehearsal with your pianist (especially when you may not have as many rehearsals as you want) is to be familiar with the piano score inside and out, and to have your own copy of the score at the rehearsal so you can review it when necessary.

How far in advance of your recital do you like to have the dress rehearsal?

GC : I like to have my dress rehearsal at least a week and a half before my recitals so I can make note of anything that didn't go as planned and still have a little time to fine-tune my repertoire. As a side note, it's a good idea to wear some or all of your recital outfit for your dress rehearsal. Playing in a blazer or ball gown feels significantly different from playing in a sweatshirt.

On the day of the performance, are there any specific activities you recommend?

GC : On the day of your performance, I recommend drinking plenty of water and setting aside time to be by yourself, if you can. I love a good day-of nap when I can manage it, and I have found that quiet time before a recital helps me to stay calm and settle my thoughts before a performance.

Do you have any day-of or day-before pitfalls you try to avoid before a performance?

GC : For one of my recitals during my master's degree (the same one I mention earlier), I had a friend offer to do my hair ahead of time. I had allotted an hour, but my updo took significantly longer than expected and it caused me to feel frantic in the last two hours leading up to the performance. I never had a chance to rest and collect my thoughts before the recital, and I ended up performing significantly below where I had performed in my dress rehearsal and practice sessions. My advice is this: allot extra time for everything you need to do the day of a recital, and don't put your appearance over your performance.

Is there any advice for recital preparation you wish you had received when you were younger?

GC : My best advice to my younger self is to schedule your recital and create a plan that works backward from that date. Set checkpoints for yourself and use them to gauge your progress. If your goal tempo is 120 bpm, identify where you want to be four, six, and eight weeks out. If your dress rehearsal is scheduled two weeks out from your recital, plan to start practicing your full runs at least three weeks out. Identify the parts of your recital that need the most attention and start your practice sessions there instead of the beginning of your pieces. The more you plan and follow through on that plan, the less stressful those last two weeks will be.

Dr. Steven Darling, Eastman Performing Artist

Assistant Professor of Tuba and Euphonium

University of Tennessee at Martin

Two weeks before the recital, do you find yourself changing any elements of your warmup, fundamentals, or practice sessions? If so, how?

SD : I incorporate malleable and rigid sessions into my practice routine. I feel most capable and confident when practicing 20-40 minutes of scales and arpeggios on contrabass tuba year-round. However, the duration of my practice session, which is usually an additional 1-2 hours, is tailormade to hone skills related to imminent performances. This portion of my routine most often includes methodological, etude, sight reading, and solo/excerpt literature on both contrabass and bass tuba. This combinatory approach keeps me stimulated, organized, and honest.

Do you incorporate non-instrument habits into your routine leading up to a recital? For example, activities such as stretching, extra hydration, meditation, cardiovascular exercise, etc.?

SD : I'm somewhat embarrassed to admit it, but I typically don't do much "off-the-horn" work. However, I sing and free buzz regularly, which aids in my aural skills and tone production. Additionally, daily cardio-centric exercise and activities help to minimize persistent asthma symptoms.

Based on your personal experience, has anything gone wrong in your previous recital preparations? If so, what did you learn from those experiences?

SD : I suffered a lip muscle injury in my preparation for the semi-final round of the International Leonard Falcone Tuba Artist Competition. This injury flares up infrequently a few times each year and usually lasts no more than one evening. A solo-centric practice routine, free of fundamentals, was the culprit. Since then, I have made it a goal to incorporate a healthy dose of fundamentals into my daily routine and encourage my students to do so as well.

When teaching students (university-level in particular), what are some common problems you see with their preparation two weeks before a recital?

SD : The sole focus of the prepared literature is an issue. Fortunately, students' technical and tonal capabilities suffer, making this issue easily identifiable. Once acknowledged and assessed, exercises, etudes, sight-reading, and duets are reincorporated into lessons and their practice routines.

How does your preparation change depending on the instrumentalists with whom you are performing? (e.g., with piano, chamber groups, or large ensemble)

SD : I have purposely designed my practice routine in an efficient and all-encompassing manner; as such, only slight adjustments are made. For a solo recital with piano/fixed media/duets, I typically work extensively with drones to ensure a full tone and pitch. For a large ensemble, I like to practice each work with a professional recording, giving great attention to stylistic and tone color practices throughout. Of course, with all performances, I must be knowledgeable and flexible to best support my colleagues.

How many rehearsals do you like to have with a pianist to successfully perform a solo recital?

SD : I'm a bit quirky. I typically prefer a single practice session with my pianist. Additionally, I like to incorporate unusual practice techniques (e.g., singing my part, not taking a tuning note, encouraging the pianist to demonstrate their techniques or style, etc.). I find these techniques allow for a free-form and healthy collaborative experience. There is a certain organic 'magic' that occurs when artists collaborate that seems to dissipate if too many practice sessions occur.

How far in advance of your recital do you like to have the dress rehearsal?

SD : No less than 3 days, and no longer than 1 week prior. This timeframe allows for alterations and/or an additional rehearsal to be scheduled if deemed necessary. Ideally, the only rehearsal is a dress rehearsal, since both the pianist and I are exceedingly prepared. To aid in the preparation on my pianist's part, I take technical and practice demands of each accompaniment into account when initially selecting repertoire.

On the day of the performance, are there any specific activities you recommend?

SD : My encouragement to all young performers is to take into consideration how food, liquids, sleep, and technology, to name a few aspects, impact your mental and physical preparation. Personally, I attempt to sleep well, avoid consuming overly salty food, drink my typical amount of water, avoid a great deal of 'screen time,' and breathe fresh air. Rather than focus my energies on an impending performance, I instead try to live a healthy and thoughtful day, in which I am neither over nor under stimulated. Also, to alleviate extraneous stress, I ensure I have time to enjoy coffee, read a book, swim, or take a walk.

Do you have any day-of or day-before pitfalls you try to avoid before a performance?

SD : Screen time greatly drains my mental focus throughout the day. Therefore, I limit phone, tablet, and computer time. Also, salty food can cause incredibly dry lips and/or acid reflux, the latter of which causes asthmatic symptoms, including shortness of breath, to flare up.

Is there any advice for recital preparation you wish you had received when you were younger?

SD : Select repertoire that challenges your technical and artistic abilities whilst enriching you. In an increasingly career-oriented educational system, achievements and career aspirations mustn't replace artistic and educational growth. Remain patient, thoughtful, honest, and artistically minded.

Dr. Fernando Deddos, Adams Instruments Performing Artist

Composer, Euphoniumist, Conductor, and Associate Professor of Music

Federal University of Rio Grande do Norte, Natal, Brazil

Two weeks before the recital, do you find yourself changing any elements of your warmup, fundamentals, or practice sessions? If so, how?

FD : Yes. That is how I usually balance preparation and performance simulation. When the recital day gets closer, I start thinking more in the actual performance mindset, therefore, I should be prepared two weeks before. This depends on what I am doing and where I am, having in mind we can be in the middle of travels or in our daily routine at the university. I will spend less time warming up and will not practice from method books. Then, I focus strictly on the repertoire, having in mind that I enjoy playing by memory, depending on the type of pieces. I also create recital simulations in which I play the whole program in front of a camera or for friends. I wear my recital outfit and prepare my body for the recital moment as best I can.

Do you incorporate non-instrument habits into your routine leading up to a recital? For example, activities such as stretching, extra hydration, meditation, cardiovascular exercise, etc.?

FD : Practicing body awareness is a significant portion of my routine. If I do not stretch, I do not live well. I make sure that my immunity is as strong as it can be before traveling for festivals and performing recitals. I suffer from herpes simplex since my teenage years when I started playing brass instruments. I had to learn how to deal with my habits, mainly prior to important commitments. Unfortunately, I could not always control it, and I had to cancel events or even perform with less than desirable lips. If I am playing a recital in a few days, I will not eat things that trigger my illness such as peanuts (which I love). I will reduce intake of things like coffee and compensate with drinking as much water as I can. I eat more fruits and vegetables. Knowing I am a bad sleeper, I do try to sleep as much as I can.

Based on your personal experience, has anything gone wrong in your previous recital preparations? If so, what did you learn from those experiences?

FD : Oh yeah! I have not met a performing artist who has not had that experience. Something that reflected poorly on stage was a lack of preparation of pieces that I thought that were not complex enough or lack of consideration of the performance venue, which then brought problems with acoustics, temperature, and access to resources backstage. I forgot important accessories such as valve oil. We should have a good plan for our performances, from knowing about the venues to making sure that all the parts of our instruments are in good shape. That said, we also must be prepared for all types of surprises such as the need for changing accompanists a day before or even playing the recital on a different instrument if something bad happens. Always have a backup plan in your mindset and preparation.

When teaching students (university-level in particular), what are some common problems you see with their preparation two weeks before a recital?

FD : The first problem is a lack of preparation, meaning I suggest they should spend more time preparing for the recital prior than two weeks before the event. In one instance, they decided to practice more than ever just a couple of days before the concert, leaving some difficult work for the days leading up to the recital. Another issue is more logistical. For example, a student once came to me a day before the recital asking for help in solving problems with incorrectly filled forms or missing signatures. Even accompanists have been forgotten up to two weeks before the event. I have witnessed issues with instrument maintenance. Lastly, the student may not promote the recital well.

How does your preparation change depending on the instrumentalists with whom you are performing? (e.g., with piano, chamber groups, or large ensemble)

FD : Well, sound is everything. I ask to myself, "How should I sound?" I am asking about musical language, projection, articulation, and embellishment, among others. I try to be in the room prior to the recital day, trying to play as much as I can in the new acoustical environment. For example, if I am playing a solo with an orchestra, while practicing alone, I will try to imagine the group and room sizes and perform while imagining I am already at the performance. This helps me create the best sound possible through my euphonium's bell.

How many rehearsals do you like to have with a pianist to successfully perform a solo recital?

FD : I do love rehearsing as much as I can, and if possible, to play by memory. I do not believe in the philosophy that we are professionals and should always be able to play it well right away. Artistry is organic and comes from the process of rehearsing and practicing our art. Of course, we should also be prepared for all possible situations. For example, going to perform at conferences or music festivals and arriving at the place on the same day of a dress rehearsal, a masterclass, or the performance makes for a difficult performance situation, but it is one that can often happen.

How far in advance of your recital do you like to have the dress rehearsal?

FD : If it is only one dress rehearsal, I say a day before. I appreciate having more than a single dress rehearsal. I enjoy playing the full program more than one time, sometimes with different audiences listening.

On the day of the performance, are there any specific activities you recommend?

FD : The day before is also very important. If you know yourself as well, you will know how much sleep your body needs and possible problems you have with certain types of food or beverages. So, on the day of the recital, I recommend not playing as much as you will need to play at the recital time, especially if this event is a full recital for which you are the soloist. If you are fully prepared and believe your program is a piece of cake (in terms of physical, mental, and technical demands), you will know how much you can play during the day. What matters is to be mentally and physically well in the moment. Also, it is very wise to treat yourself to something enjoyable and to relax. For example, if you like ice cream or chocolate very much, consider having a small bit before your recital instead of waiting until having it as a reward after the concert. If you can, go and relax for little while, which emphasizes the importance of leisure time.

Do you have any day-of or day-before pitfalls you try to avoid before a performance?

FD : I try to avoid specific types of food that could trigger health problems for me. I love peanuts, but they can be bad for my herpes condition because of its quantity of arginine. I also like playing basketball, and of course I will not play a few days prior to performances.

Is there any advice for recital preparation you wish you had received when you were younger?

FD : I was always lucky with my professors. They let me apply most of my own ideas and musical choices. They were very open minded. As human beings, we need some type of limits: our own limits. No one can embrace the whole world. Having that concept in mind can make the process lighter when trying to achieve our desired goals.

Dr. Chris Dickey, Miraphone Performing Artist

Assistant Professor of Tuba and Euphonium

Washington State University

Two weeks before the recital, do you find yourself changing any elements of your warmup, fundamentals, or practice sessions? If so, how?

CD : My warmups and fundamentals remain similar, but if I could pinpoint any changes, I would say a warmup may include small sections of my solo music, especially parts that are conservative in range. Over the years, I have viewed this as a way of cementing ideas in my ears and head, ideas upon which I can rely in live performance. Near the ends of practice sessions, I aim for run-throughs without stopping. When I do this, I gain more and more confidence with the music and any demands it may place on me. This process is especially helpful for me if I am performing a program containing both tuba and euphonium music.

Do you incorporate non-instrument habits into your routine leading up to a recital? For example, activities such as stretching, extra hydration, meditation, cardiovascular exercise, etc.?

CD : In the time leading up to a recital, I attempt to drink more water than I normally do. I maintain my regular diet and exercise routines, but specifically the day or two before a performance I want to make sure I don't overdo cardio or strength training to prevent causing a distracting injury. For years I suffered from mid-back pain, which was mostly posture related. My chiropractor taught me to do effective stretches that promote freedom and flexibility in my torso. When I am getting ready for a performance, I must remind myself to revisit those stress-relieving exercises. The one thing I consistently do throughout the year is apply cocoa butter lip balm enriched with vitamin E. This is good for the thin, delicate skin of the lips. Using lip balm helps me keep my lips moist and free to vibrate.

Based on your personal experience, has anything gone wrong in your previous recital preparations? If so, what did you learn from those experiences?

CD : As I age, I begin to realize I am almost equal parts extrovert and introvert. The extroverted side of me is helpful with teaching and performing. The introvert side of me must be cared for, for this side helps me be a better version of me, both mentally and physically, in performance. I recall a time when I was performing a faculty recital for our Oktubafest. I agreed to teach a makeup lesson to a student who had a bizarre week, but that meant I would be teaching until 7 PM. My recital started at 8 PM. I had an hour to leave school, go home to shower and change into my dress clothes, and get back on campus. Recitals can be taxing events, but I made the situation more chaotic for myself because of my frenzied behavior leading up to the start of the recital. Yes, the recital went well, but the amount of mental exhaustion and stress I brought upon myself taught me an important lesson: it is perfectly acceptable to prioritize myself and my time leading up to an event.

When teaching students (university-level in particular), what are some common problems you see with their preparation two weeks before a recital?

CD : Chief among the problems would be the hesitation or alignment issues caused by not knowing what is happening in the piano or other parts. I can tell the player is sitting there thinking and counting rests with "1-2-3-4, 2-2-3-4, 3-2-3-4" in their mind instead of a melody with the appropriate style and sound. This is especially noticeable in slower music. Here, I have seen students miss entrances by being caught off guard with any push and pull in the piano. We know we should come to the rehearsal in command of our solo part, but really knowing the piano part helps solidify so many aspects of performance. Above all else, with the security of knowing the piano part will come better control over the instrument, allowing someone to simply sing while always focusing their mental energy on sound. Another problem I have noticed involves students playing a lot right before a performance, sometimes resulting in an injury or excessive fatigue. I remember former teachers asserting that through rest will come strength. A student, especially one new to performing as a soloist, might feel that easing up is the exact opposite of what they should do, or that doing so signals they are not taking the upcoming performance seriously. Relaxing is precisely what can help them in a performance situation.

How does your preparation change depending on the instrumentalists with whom you are performing? (e.g., with piano, chamber groups, or large ensemble)

CD : My individual preparation doesn't change. I arrive to rehearsals and performances knowing my part and how all the parts weave together. A difference would be the energy I devote to learning how other people play. For example, in a brass quintet scenario for which the first trumpet is the de facto leader, how do they give a cue? What about the releases? When it's their turn, how will my trombone colleague lead a passage? I am looking for those answers so that in the moment, all I am doing is sitting there playing with a good sound while helping the group sound as polished as it can.

How many rehearsals do you like to have with a pianist to successfully perform a solo recital?

CD : If the circumstances allow for it, I feel comfortable with 3-4 rehearsals for a regular recital on campus. When I am traveling as a soloist, that arrangement seldom exists. In that case, I will have just the one rehearsal-maybe two-and everything must be ready to go. That recital scenario will inform my repertoire selections. In that situation I choose music I know inside and out and music that, according to my trusted piano friends, has a relatively straightforward piano part. The pianist appreciates this!

How far in advance of your recital do you like to have the dress rehearsal?

CD : The ideal time for me is two days before the performance. Having a dress rehearsal then allows me time to digest everything (both the strengths and weaknesses), refine an approach, and focus. The day before the recital is, by design, typically a lighter playing day for me. A dress rehearsal followed by a day of relatively easy playing have left me feeling my best for the recital day.

On the day of the performance, are there any specific activities you recommend?

CD : I try to make a recital day just like any other day. I sleep my normal amount, get up at the same time, do a short warmup routine, perhaps do some teaching, and even engage in light exercise. If I drastically changed my routine on that day, I fear my mind would become overwhelmed or even panicked. The only activities I would strongly recommend include scaling back playing on the day of the recital and making sure you reserve time for yourself. For me, I like to have a quiet afternoon and take a shower before I need to change into my recital attire. Quiet time and showering help me gather my thoughts, decompress, and channel my mental energy.

Do you have any day-of or day-before pitfalls you try to avoid before a performance?

CD : When I am that close to a performance, I avoid eating food that can cause heartburn. Heartburn can cause me to feel slightly short of breath, not to mention the way the discomfort can derail my focus. Learning to say "no" or "not right now" has been helpful. I try to move as many obligations as possible to after the recital because I want to reduce the potential for stress leading up to an event.

Is there any advice for recital preparation you wish you had received when you were younger?

CD : As soon as you get your solos in the mail, mark up your tuba part with piano cues. We are so eager to get the music into the hands of the pianist upon its arrival that we can forget this crucial step. Yes, of course we can listen to recordings and dictate what we hear, but having some cues already in my solo part early on encourages me to think melody from the very beginning of the process, including the melody of my duo partner. Additionally, when you mark your music in preparation for a performance, you should be speaking to the nervous version of yourself. Short, one-word commands work well in this instance. When you are nervous in a performance situation, your brain can readily understand simple commands such as "steady," "sing," or "energize," just to name a few. Also, remember to breathe. Deep, calming breaths, especially during rests for the soloist, can make a remarkable impact on our mental and physical well-being.

By now you have read recital preparation strategies from players who come from a variety of backgrounds. They have arrived at this advice after years of trial and error. Many of their experiences were successful, but in full disclosure, there were an equal if not greater number of failures along the way. Synthesizing all this information can be challenging, but that is where reaching out to your private teacher and network of trusted peers will help you digest information that works best for you. Maintain an open dialogue with your teacher and peers about all these issues. Through the illuminating process of self-discovery, keep asking yourself what is applicable to you. We owe it to ourselves and our careers to invest in meaningful discussions about recital preparation so we can accumulate a long list of performances that etch themselves into our minds. The satisfaction one feels after a successful performance is truly memorable. As former Apple executive Steve Jobs once said, "If you really look closely, most overnight successes took a long time." Our work in music is ongoing, but being reflective and strategic helps us get closer to a sustained record of performances which will take permanent residence in our ears and memories.

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