how important do you guys think it is to practice like you are in a performance and try to not make any mistakes. Of course when I practice I'm not trying to make mistakes but it is not nearly the same intensity as if I'm trying to record something or perform and trying to really focus on not making any mistakes.when i listen to professionals its like they never make any mistakes and i feel like almost every time I play something mistakes are fairly common. I know they have been playing a lot longer than me but do you guys think practicing with an intense focus of not making mistakes is what I should be doing? or should I just not worry about it and assume the longer I play the less mistakes will occur organically. (been playing a little over a year now).
The goal is to have sorted out which blueprint is which, what aspect of the music belongs to what blueprint, and to have worked out your ability to achieve each one. Then, to achieve two together, then to add more, until they are all working, correctly, at once. And this also goes back to what I was saying above, about an order of operations, or a cueing system. And, even the motions that a person does not think of as causing sound directly, must have a cue or placement. They have a blueprint, or are an aspect of a blueprint, too.
I will share with you two points, but first, the proper spelling is it's, and not its. Millions of writers make this mistake.So, when a classical recording artist enters a studio, today, and it is solo repertoire, the recording engineer/producer asks them to play a single measure from the beginning of the piece, then pause, and then play it seven or eight times again. Accordingly, they then proceed throughout the entire piece.After that, a collection of mixes are done, which are eventually decided upon by the artist or whoever is calling the shots on this particular recording session.
So, when a classical recording artist enters a studio, today, and it is solo repertoire, the recording engineer/producer asks them to play a single measure from the beginning of the piece, then pause, and then play it seven or eight times again. Accordingly, they then proceed throughout the entire piece.After that, a collection of mixes are done, which are eventually decided upon by the artist or whoever is calling the shots on this particular recording session.
I will share with you two points, but first, the proper spelling is it's, and not its. Millions of writers make this mistake.Whereas today, one can literally see some dumb piano major sitting in a audience counting wrong notes on their fingers.
how important do you guys think it is to practice like you are in a performance and try to not make any mistakes.
I feel like my general question hasn't been answered. The general question of how often should I play with an extreme focus on not making mistakes. Sometimes when I practice I can get in a mode where I am very casual and not particularly careful about playing correctly.
Simply untrue. Both from my personal experience, and also from that of musicians I know.
So, when a classical recording artist enters a studio, today, and it is solo repertoire, the recording engineer/producer asks them to play a single measure from the beginning of the piece, then pause, and then play it seven or eight times again. Accordingly, they then proceed throughout the entire piece.
It is very true, and has been verified on another website by a pianist who has been present several times in the studio when it was done. Further, in his Memoir, Earl Wild references a recording session of a very famous concert pianist who took the better part of a week to paste together his recording of a piano concerto because he simply couldn't play the notes.Glenn Gould used to rewrite his Bach pieces so he could record the soprano and alto with two hands, the tenor and bass with two hands, and then mix the two together in order to clearly bring out all of the voices.
If my goal was to play a piece to the level of a concert musician, I'd stop playing.
everything I do I try to do to the best of my ability and I believe everyone is capable of playing at the level of a concert musician.
I believe everyone is capable of playing at the level of a concert musician.
My thinking is: I love ballet, I love to dance. I didn't start dancing at the age of 4 and spend 60 hours a week in a ballet studio as a teenager. I will never dance like someone who has.
Millions of writers make this mistake.
Firstly, there's no evidence gould recorded this way in Bach unless you can present some. He is known to have overdubbed in his wagner transcription and in liszt's beethoven transcription. Where is your evidence regarding Bach? It doesn't exist because you either made it or quoted someone else who made it up without any proof.
Which is almost as many as those who use hackneyed hyperbole.Quite so. I would add that both the Beethoven/Liszt (9th Symphony) and Gould's own Wagner transcription are impossible to play as written without doing this.
Katsaris managed to get around it.
Not only that; he found that while playing, he still had some unused fingers left and added notes in certain places from Beethoven's original.
Practice a perfect correction routine.