The final countdown: preparing for my concert performance.

In a dissertation concert, a question was posed to Grammy-awarded musician Wynton Marsalis:

"Do you think jazz music is more for the player or for the listener?" Wynton Marsalis responded, "Music is always for the listener, but the first listener is the player"

At Crescendo Music School, we host two concerts per year. These celebrations allow us to share the progress of our students with the community. They provide a supportive environment where parents and community members can appreciate the achievements of students of all levels and ages.

Our preparation for a concert can be divided into four stages: repertoire selection, the learning process, the concert day, and evaluation.

The Marathon: Developing Skills in Music.

According to the advancing knowledge of the student, different elements are introduced into the song(s) for the concert. The repertoire needs to be appropriate to the student's level and achievable through lessons until the concert. Some pieces may be selected outside of the main books but should incorporate similar elements, especially for piano and guitar. It is advisable that the songs for beginners are short, sustainable, and enjoyable to keep them motivated.

Learning a song for a concert is a process that can take many weeks, depending on the student's level and the duration of the piece. Consistent practice is crucial for making the learning process sustainable and enjoyable. We can divide the learning into two stages:

1. Positivism: This philosophical approach is based as an example on "I only believe in what I see and touch." It involves learning the song and its elements—tempo, music notation, dynamics, articulation, etc. This stage depends on the student's level of musical development and skills.

2. Metaphysical: This stage is related to sensitivity and occurs when the performance transcends technical execution and becomes "angelic" or “magical,” something that cannot be easily explained. This stage begins when the student masters all elements of the song, can play it from memory, and can perceive the tone of the instrument, allowing the musician to express something abstractly through their own voice. When the interpreter makes the piece their own, embodying the composer's work as if it were their own creation. Wynton Marsalis may have been referring to this phenomenon.

The Concert: A Celebration Day

The preparation for concert day begins the night before. Ensure the students get a good night's sleep, bring their instrument and music scores if needed, choose their outfit, and plan to arrive on time. Wear clothes that are both celebratory and comfortable for the performance.

Typically, musicians visit the venue beforehand for a per-rehearsal known as a soundcheck. Even if the instruments are amplified, it is important to understand the acoustics and become familiar with how our sound interacts within the concert space. For pianists, this involves trying the weighted keys and assessing the sonority of the piano.

Review the program in advance so that the student is prepared and confident before stepping on stage. Show respect to your fellow performers by maintaining silence when they play and encouraging them, as this helps create a supportive environment for everyone’s performance.

"The Angel Appears”

"When the presenter calls me to the stage, I immediately start to sing the song in my mind, keeping the tempo, even as I greet the audience with a bow. I breathe and take control of the song's timing during this transition. I adjust the piano bench and its distance from the piano, position my fingers, and ensure that no one is rushing me and I am not rushing myself either. In that moment, I own this space and time. I take another breath, and then I begin." Danilo Rojas.

When the student plays with the teacher or a peer, they become a team. Complicity, eye contact, communication, and mutual trust are crucial.

In my experience as a piano tutor, students often accelerate the tempo when they make a mistake. The cortical and limbic parts of the brain are active during this time. Exposition is not frequent, except for professionals, though even in such cases, concerts, such as those on a tour, establish a routine of performance. Our consciousness operates through the cortical region, enabling knowledge and real-time thinking when interpreting music. When a mistake occurs, the limbic part of the brain takes over, accelerating respiration, inducing a sense of danger, and prompting a desire to finish as quickly as possible. To counter this, take a deep breath to engage the cortical part of your brain and continue playing without interruption. If the musician is playing two songs, taking a break for water in between can be beneficial. The entirety of the song is important; the beginning gives you confidence to continue throughout, and the ending provides a sense of vitality and culmination.

After the student's participation ends, the concluding bow should be made slowly, allowing the audience more time for applause. Then, the student should take a seat and continue with the normal performance for the next participant.

Reaching the Finish Line: I/We Did It

Evaluating student musicians post-concert necessitates self-reflection on their technical proficiency, musicality and expression, stage presence, preparation times and memorization, audience engagement, repertoire selection, overall performance quality, progress and improvement, and feedback from family and mentors. These evaluative criteria collectively offer a comprehensive understanding of the musician's skill set, artistic interpretation, confidence, and audience connection. This reflective process not only identifies strengths and areas for enhancement but also celebrates the students' achievements, supporting their continual development and encouraging their passion for music.