Pre-rehearsal preparation: are your student pianists setting the stage for an effective collaborative rehearsal?

Many of us have been confronted with the adage "Those who can't perform can always teach," and know that those two skills, performing and teaching, are inter-related but different. Certainly, we all know that teaching is much more than a consolation prize for those that are less strong in performance! The parallel statement of "Those who can't perform solo can always accompany" holds a similar false sense that the skills needed for one transfer completely to the other, and that accompanying or collaborative work are somehow secondary in stature to solo performance.

With contest season fast approaching, many student pianists will face their first experience of collaborating with another student musician. As teachers, we can create an environment where the collaborating pianist has a successful first encounter, and we can instill positive attitudes by promoting proper preparation.

Initially, we hope the repertoire requested for our student's first experience is at an attainable level for them, or at least reducible to a playable version that can promise success with practice. We also hope the other musician, whether they be an instrumentalist or a vocalist, has provided a reliable printed edition and has asked for the collaboration early enough that time is sufficient for both student performers to learn the music and rehearse multiple times.

In addition to learning the piano part of the ensemble prior to the first rehearsal, several skills that may be new to the student should be practiced. The collaborative performance will usually not be from memory, so the student will need to practice turning pages without interrupting the flow of the music. Although a page turner may be utilized in performance, knowing how to maintain the musical line in spite of turning one's own pages assists in more productive rehearsal sessions. Look for a break in one hand or the other for a quick turn, or memorize a few measures before and after such a break to facilitate the turn. If necessary, photocopy a line or two from the following (or preceding) page to tape to the score or memorize short passages that bridge a tricky page turn. Be sure to have the student play for you in the lesson with page turns included and no breaks in the rhythm.

Possibly the most challenging skill needed for effective collaborative rehearsal is hearing the additional part(s) while successfully performing one's own. Developing this capacity can start with counting the beats of the measure aloud while playing the piano part, which gives the mind and ear a new dimension to coordinate. Next, the student can practice reciting just the rhythm of the solo part while playing their own part as a way of understanding how the parts fit together. Finally, ask the pianist to "scatt" the solo line with both melody and rhythm on nonsense syllables like "la-la" or "da-da-da" while playing the piano part. This is particularly helpful for any passages that involve off-beat playing by one part or the other; feeling that on-beat/off-beat relationship internally can promote a successful first rehearsal.

The student will also benefit from being able to play his part at a variety of possible performance tempos. It will be difficult to estimate the tempo that will ultimately serve both performers and the music, so being prepared with multiple tempos will be helpful at the first and subsequent rehearsals. The pianist should also be able to isolate one hand at a time up to tempo before the first rehearsal. At the rehearsal, practicing only one hand of the piano together with the solo line will help the instrumentalist or vocalist hear how individual lines synchronize.

Well before the first rehearsal, have the two students agree on the goal for their initial meeting. Perhaps select a section or movement that will be easiest to align rhythmically or that is more straightforward technically. If the piece is sectional, suggest they explore every occurrence of the same theme, jumping from section to section to feel the continuity of the subject's tempo and character. Prepare both musicians for the likelihood that they will need to play each shorter section multiple times before it meshes recognizably. Listening to a recorded performance, preferably one at an attainable tempo for the students, can also imprint a sense of the musical goal for the piece.

The attitude of both musicians in the first and subsequent rehearsals can also promote a successful musical experience. If both realize they are entering into an equal partnership, they can work towards a common goal that emphasizes the music, not competing personalities. Prime your piano student by suggesting phrases to use that are non-threatening and not judgmental, like "May we try this passage more slowly for practice?" or "I need to play that measure a few more times to hear it clearly."

Part of the ownership of the musical ideas and the ensemble can be promoted by giving the performers themselves several important decisions to make together at the first rehearsal. Before playing the first note, they should agree on a tempo for the first read-through; this should not necessarily be a performance tempo, but neither should it be so slow that the musical essence and overall rhythm is obscured. Setting that tempo with the metronome will assist not only the rehearsal at hand, but also will provide a guideline for individual practice between rehearsals. Next, the students will need to decide if repeats will be taken and who will be in charge of starting the movement or section. If this is the first collaborative experience for both, a simple counting off of a measure or two out loud by one of the performers is an effective way to get the music making started.

The teacher's attitude towards this new experience for the piano student will be mirrored in the success of the collaborative rehearsal and performance. By emphasizing the positive aspects of making music together, as well as effective and thorough preparation, the student will view the ensemble encounter as something to seek out and enjoy again in the future.

Janice Wenger, NCTM, is professor of piano and accompanying at the university of Missouri-Columbia. She has served frequently as official accompanist at both division and national finals of MTNA student competitions.