[b]Recording practice sessions[/b]
Many of us utilize recording devices as a practice tool. Very simply, we record ourselves, listen to the results, work on the areas that need improvment, and repeat the process. At some point, a recording will reveal that everything is "ok" -- the pitch, dynamics, etc... all sound good. Confident that the music is learned, we forge ahead, perhaps emboldened to play in a public setting. Is there any more that one can do to prepare?
[b]A good take doesn't tell the whole story[/b]
A good recording does not reveal the mental work of the performer. For example, say a work has a long rest -- say seven measures. The performer may have, in reality, lost his/her place during the rest, guessed, and just happenned to enter at the right time. In this case, the performer's luck wasn't recorded -- just the outcome. Such a passage may go ok in practice and, under the pressure of live performance, go to pieces.
Another form of guesswork is when one manages to hit notes without really knowing the intervallic relationships. One may be "skating" to pitch or "fishing" without visualizing the target or the distance to the target. Again, such tentative playing may not show up on a recording but can wreak havoc in a live situation.
[b]The margin of safety[/b]
This is a concept borrowed from aviation. In the go/no go decision as it applies to flying, a situation that is merely "safe" is not good enough. Pilots demand a "margin of safety" above and beyond what is merely "safe". If one is flying right on the line between safety and danger, then the slightest distraction, etc... could result in disaster.
While music-making doesn't carry the life/death implications of flying, perhaps we can find ways to perform with such a "margin" that distractions don't compromise the performance.
[b]In your head or in your hands?[/b]
Alas, an audio recording records what is "in one's hands" and doesn't record one's calm, confusion, or anxiety while playing. A passage that is practiced tentatively may go ok in the practice room and fall apart in the live performance. Fortunately, some techniques can help one identify such passages prior to a live performance. The following techniques would follow after solitary practice in an undisturbed environment:
1) Allow distractions. Play your music in a populated part of the house. Record the results. Look at every distraction as an opportunity to practice focus despite distractions.
2) Practice outdoors. (I have spoken with my neighbors and told them that if I play too loud it is unintentional and for them to feel free to call or walk over to my patio.) Plenty of distractions outdoors -- airplanes, cars, and yes... even people within earshot. Again, record this.
3) Do an "open" dress-rehearsal. Prior to the electro-music festival, I reserved the neighborhood clubhouse for rehearsal. I invited friends and family to "come when you can and leave when you must". This was very successful and I plan to do more of them when I have new music to "dry run" prior to performances.
[b]rock-solid performance[/b]
When one rehearses with realistic distractions then, in addition to music-making, one prepares mentally for the inevitable distractions that are part of live performance.
To know the music and to maintain focus despite distraction can result in performances that live up to their potential.
May we all deliver "rock solid" performances.
[i]-- Kevin[/i]