Selection of material

The selection of the music for any performance is important and needs careful attention. This may be dictated by the occasion, audience, your performance level or available time to practice and rehearse. Always select a piece that you are comfortable with and have the confidence to perform with little stress. The exception to this is when you need to “air” a new piece and need to have the experience of performing it takes precedence.

It is always my aim when choosing material that the material enables the students (or myself) to present their skills, not their limitations.

You should choose pieces that you think will achieve the best result for the situation. The final choices should be based on which ones that you play well and enjoy the most.

When the actual pieces are the primary focus, it is very easy to forget the necessity for technical and tone exercises. A timeline of preparation is a useful tool in ensuring all work is prepared to the required level in the required period of time. Aim to leave a couple of spare weeks at the end to take the pressure off. When plotting a timeline, take into account other things that may impact on your preparation i.e. Holidays, other examinations/tests/potential illness, school work etc.

It is important to note that you should practice what needs to be practiced and not endlessly play what feels the most comfortable. Too many students always go back to the beginning of the piece (which becomes the most practiced section) when they make an error, rather than concentrating on the area in need. If you have limited time to practice then only practice what NEEDS to be worked on. Don’t feed your ego!

Aims of practice (focus)

Simply put …. you should always aim to finish your practice with improvement in some aspect of your playing. Often this is only small, but will accumulate over time and the improvement will become obvious.

It is wise to aim for small specific areas of improvement rather than global efforts. For example, improving half a page of a movement instead of endless practice from beginning to end with errors becoming engrained, instead of eradicated is preferable.

Don’t practice when you are tired as it often leads to less common errors being made and at times a demoralising outcome. Try to establish a regular practice time and routine and be focused at all times.

Don’t complicate it, just fix it and enjoy making music.

In general, practice the pieces in smaller sections until you are fully confident and able to play in larger sections and then in total. Try to listen to recordings of the works and practice as often (if appropriate) with an accompanist.

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Neville Shade B.Ed.
Professional Woodwind Doubler/ Teacher
Senior AMEB Examiner/VCAA Assessor
Deputy Director of Music - Methodist Ladies College (Melbourne)
Involved with recent syllabus reviews and new syllabus development. Neville also takes a keen interest in the development and improvement of the teaching of Woodwind instruments.