Two types of practicing
Through years of graduate work, I’ve spent a lot of time sitting in my office overhearing other piano students practice. One thing I’ve noticed is a tendency to perform, instead of practice, in the practice room.
Maybe put another way: some students practice with the intent of performing, while others practice with the intent of learning.
In the first category, students run through pieces, constantly. When it’s new, they run through the piece slow, eventually they try it faster. When they’re perfecting a piece, they’re simply performing, performing and performing. I’m not sure where the nuances of interpretation are addressed in this process; presumably they analyze issues in their performance in bulk at the end of one run.
In the second category, a students practicing doesn’t exactly sound like the final result. They work in short section which they repeat often, one right after another. They manipulate passages of the score, working in a variety of ways to create challenges for themselves within the text. On a certain passage, they may go from a slow practice to performance tempo in a matter of 10 minutes, but they’ve covered just a small patch of ground.
I’m highly in favor of the latter approach. I would always rather make a lot of progress on a small section of music, rather than a small bit of progress on a lot of music. If I dig into a passage intensely, I’m going to make observations, solve problems and test solutions incessantly. More than likely many of the strategies I use in the first one or two sections are going to inform how I work on the rest of the piece. In the end, I’m going to have a much deeper understanding of a piece that’s going to make the rest of the learning process much faster.
I also think it’s going to be more secure, but more on that on Monday.
"Modern performers seem to regard their performances as texts rather than acts, and to prepare for them with the same goal as present-day textual editors: to clear away accretions. Not that this is not a laudable and necessary step; but what is an ultimate step for an editor should be only a first step for a performer, as the very temporal relationship between the functions of editing and performing already suggests." -Richard Taruskin, Text and Act