It is to sing the entire piece through in your head.
The purpose of this training is to develop a skill to play through even when you hit the wrong note or get bowing wrong. At the time of practice, it is very common to stop playing every time you make a mistake, focus on the part you made a mistake in, and then go on to play the rest. But if you keep practicing like this, you are likely to develop a habit of stopping, and you will get distracted by many things at the time of your recital. To prevent a situation like this, you need to practice to not stop no matter what happens and play through. Trying this at a different time of the day is very effective, such as the end and/or beginning of your daily practice, or at the exact same time frame as your scheduled performance, etc.
Another important tip is to never get down or start wondering why you made a mistake during a full rehearsal. What’s important is how quickly you recover from your mistakes. Don’t ruin the rest of your performance by dwelling on the errors. This is one of the essential points in mental practice.
To make full rehearsals even more effective, have someone listen to your performance or record yourself. Training yourself to be able to sing the entire piece in your head anytime anywhere is also very important.
While you are playing, you are probably listening to your own music at around 60% of your full concentration, even if you think you are fully paying attention. When the day of your actual performance comes, your hearing ability lowers even more, so the rate will be down to around 40% at most.
So, you should record yourself during practice and strengthen the good points and improve the weak points by listening to your own performance. This allows you to be objective, which is a very crucial element. This is very similar to checking yourself in the mirror before you leave to school or work, or even going up on a stage. Even when you know you are appropriately dressed and your hair is combed, you would probably still check yourself in the mirror.
So, in order to listen to your performance objectively, I strongly recommend recording yourself when playing the entire piece etc. This is very effective for making improvement. I, of course, practice using recording devices too.
2. Mental Practice.
Unexpected things happen on stage, all the time actually. For instance, you are bound to experience discomforts such as the room being too hot / cold / loud, audience being too close, or the sound system being awful. The biggest problem in such situations is focusing on the surroundings so much that you can’t concentrate on your own performance. If you blame the surroundings, I’d have to say you haven’t matured as a performer yet, because a real performer doesn’t stop for anything until his or her performance is finished.
The important thing is not to expect a perfect environment for you to play in. It’s better to expect the worst environment possible, if you want your performance to be at its best at the recital. Practice being prepared for the worst. You need to cultivate the ability to concentrate and mental strength to complete your performance in any type of situation you may be in. Full rehearsals play an important role here, too.
Every player has different sized hands. For smaller children, it’s good to follow the fingering patterns indicated in music sheets, since it’s an important experience. However, it’s a different story if you are performing at a recital or contest. If you looked at it objectively, there may be such a thing as “ideal fingering”, but the most important thing is to choose the fingering that fits you the best.
Very often, the fingering that worked at practice doesn’t work at the actual performance. So, I suggest finding a different fingering pattern if you feel that your current fingering doesn’t suit you or feel very uncomfortable with it after 3 or 4 days of hard practice. Make sure to avoid interrupting a beautiful flow of music because of fingering. Try different fingering patterns and find the one that works for you.
Have a clear goal. Don’t just repeat it recklessly.
Once you’ve decided the bowing and fingering patterns for the bracketed part to a certain degree (although you may change them later on), you need to practice the part until you are completely confident in yourself. If you feel that the bracketed part is no longer a problem for you, add a few bars preceding and following the part and make that into one phrase. Play the whole phrase through and see if you can still play the bracketed part without an error. It is a very common phenomenon to make the same errors in the exact same part again as soon as you add a few more bars.
If this happened to you, take a moment and ask yourself why. Is it your bowing pattern? Or is it your fingering? More often than not, you may be able to solve the problem you make with a small change. Here’s an important tip. When you make an error during practice, don’t panic. You need to think why it happened. It has an adverse effect if you keep practicing without thinking about the reasons for the errors: like you are practicing to make the same mistakes again and again.
If you don’t take the time to figure out the reasons, which takes only a very little bit of time, you may not be able to fix the problem even if you practice for tens of hours. So, get in a habit of putting the instrument down when you make a mistake, and think why you made the mistakes!
If you cannot figure out a reason for making errors, talk to your teacher and work together to find a solution. Once you found the reason and fixed the problem, play through the phrase that includes the bracketed part one more time. If you could play it without an error, play it more than 5 times and see if you can play it naturally without any errors. If you find no problems, go on to the next bracketed part and repeat the same procedure. After you finished all of the part-by-part practice, play the entire piece in a slower tempo again. If you find different sections that need to be bracketed, mark them and practice the same way. Have this practice repeatedly while you still have the time before your performance.
When you are trying to master a piece of music, make sure to follow this pattern: Play the entire piece through – part-by-part practice (practice bracketed parts) – Play the entire piece through again. Also, it is important to start your practice with a different bracketed part each time.
Once you’ve decided on how to go about your bowing and fingering to a certain degree ( although you may change them later on ), you need to practice the bracketed part until you are fully confident with yourself.
If you feel that you have successfully mastered the bracketed part, then add a few bars preceding and following it and make that into one phrase. Play the whole phrase and see if you can still play the bracketed part without an error. It is a very common phenomenon to make the same errors in the bracketed part again as soon as you add a bit more bars. You were able to play it so well before,but all of a sudden, you make errors again. Why does this happen? Take a moment to figure out the reason. Is it the bowing? Or is it the fingering? More often than not, you may be able to solve the problem with a very small change you make.
Here’s an important tip for you. When you make an error, you need to think why it happens. To keep practicing without thinking about this actually has an adverse effect. It is almost like practicing to make the same mistake.
When practicing a new piece of music, first you should try playing it in a slower tempo than the actual one. See where you made mistakes and put brackets on those sections. Then you can start practicing focusing on those bracketed parts. We call this “Partial practice”.