ETUDE
May 1938
volume LVI
number 5
page 347

Preparing a Concert Program

By George C. Krick

IN A LETTER recently received from one signing himself “Guitarist,” a subject was brought up, that should be of interest to every player of a fretted instrument. We quote the principal portion of this letter:

“I have been devoting two hours daily to the study of the guitar for the past three years. Not until about six months ago did I begin to play in public, and so far have confined my efforts to the rendition of pieces of medium difficulty. I have memorized about fifteen numbers and when I play them at home, they appear to sound perfect. But when I get on the stage my fingers do not seem to function right and I can never get my solos “across” the way I would like to. Can you suggest any way that would help me to overcome this condition ?”

We can most heartily sympathize with this player, as a great many public performers are subject to this condition commonly known as “stage fright,” especially prevalent during the early stages of one’s career. One of the first requisites for any one appearing before an audience is to try to keep fit physically and mentally. A healthy mind in a healthy body will give you self confidence and assurance and this in itself will react favorably on the audience. Keep your mind from dwelling upon the possibility of failure, step on the stage with a smile on your face and an inward determination that you are going to do your best, and half of the battle is won.

One of the main causes of nervousness is the lack of a thorough preparation of the numbers to be rendered, especially noticeable amongst the younger players. When a new composition is taken up for study nothing should be slighted. Play it over a few times at a slow tempo to obtain a general outline of its musical structure and the intent of the composer, then practice every phrase diligently over and over; do not pass over technically difficult passages, until they are mastered and respond to the fingers as readily as the easier sections. Expression marks must be carefully noted and memorized. Allowing about thirty or forty minutes daily, at the end of two weeks this number should be fairly well mastered. Now put it aside for a week and then resume practice just as seriously as at first for another week, and again every other week for a period of two or three months. At that time the number should be ready for performance.

This system of practice is primarily recommended to the average player having about two hours at his disposal. The proper division of this practice period, devoted to the mastery of any instrument is also of great importance. The usual procedure with many students is to begin with scale exercises, arpeggios, etudes, and conclude with concert pieces. The writer for many years has been in favor of reversing this order; and those who have adopted his suggestion in the past have adhered to it and obtained good results. At the beginning of the practice period place yourself in the proper frame of mind and concentrate on what you are going to do to the exclusion of everything else. Now play over the numbers in your repertoire that you expect to use in the next concert, just as though a discriminating audience were listening to you. Follow this with memorizing a new composition and this in turn with scale and arpeggio exercises and etudes. After a time you will have cultivated the habit of playing your numbers perfectly, without first having gone through the process of limbering up your hands and fingers. This will prove a valuable asset when you are called upon to play without having an opportunity to “warm up.”

One of the problems the player of fretted instruments has to contend with is the lack of opportunities to play in public, unless he is a recognized artist of considerable reputation. For this reason the young player should miss no chance to play in front of others and remember that amateur entertainments and musicales in churches, lodges and private homes offer a great field for the budding artist to gain the necessary experience for further musical development.

Selecting a Program

LET US NOW for a moment give consideration to the proper selection of the program numbers. Too many artists think of themselves only and what they like to play and forget that the audience sometimes differs with their musical taste. To be a success your performance must please and arouse your listeners. If your program calls for two groups of three or four numbers, start with a selection well within the range of your technic, one of bright and cheerful character, that will put your audience into a receptive frame of mind. Follow this with a composition in a slow tempo and then play your principal number, keeping in mind that these three selections should be in different keys to avoid monotony. Use a similar method in selecting the pieces for your second group.

Those having professional aspirations should attend the recitals of all the great artists, observe their methods, stage deportment and program building.

Since the literature for the fretted instruments contains many original compositions of great merit, some of them should be included in the repertoire of every artist, as they will generally give him an opportunity to bring out all the resources of his respective instrument and often these will be hailed as musical novelties. In addition to these there are unlimited numbers of light classic transcriptions that can be used with gratifying results.

What we must not forget is that every instrument has its limitations; but we must remember that it also has characteristics of its own, which, when properly projected, will appeal to many.

When a banjoist steps before an audience, it at once begins to feel cheerful because of the bright snappy music it is accustomed to associate with the banjo. The guitar suggests romance, Mozart minuets and Bach preludes; the Hawaiian guitar, dreamy waltzes and hulas; the mandolin, Venetian barcarolles and Neapolitan tarantelles.

But remember also, that present day audiences are discriminating, made so through hearing the best artists over the radio. The big prizes go to those at or near the top in the musical entertainment field. To reach it means not only natural talent but hard study for some years.

It is worth it, why not try for it?