I Can’t, I Have to Practice

That’s what you hear from your music performance friends every single time you want a Cook-Out tray. What’s the big deal, and who would turn down the legendary banana pudding milkshake in favor of playing the same music over and over in a tiny cubicle with no windows? What is it that takes so much time out of the performer’s “free” time? The simple answer lies in the day-to-day schedule of the undergraduate music performer, a wonder of time management and vaguely insane drive to succeed in the vicious world of the professional musician.

What your musician friend really means when dropping the “practice” bomb in casual conversation is that he or she is trapped within a swirling vortex of diverse responsibilities. Elon music performance majors must perform two recitals (one each during junior and senior years). In the case of piano majors, all material must be memorized. And that’s not even the impressive part.

The piano performance major’s journey starts as soon as he or she moves in for the first semester of college: yes, in order to graduate on time with a music performance degree, you have to know what you’re doing right away. Hour-long lessons occur once a week, you’re expected to practice for five hours daily, and you’re required to perform for the department at least once a semester before being evaluated by a jury of professors. If you don’t pass this evaluation, you won’t be allowed to progress to the next level of applied lessons. As if that weren’t enough motivation to live in the practice room, there’s more.

A piano major’s most daunting obligations are preparing for the senior recital and graduate school auditions. Developing a program that showcases your individual skills as well as your ability to perform pieces from different classical periods is a significant challenge, and by the time you’re a senior, you are partially responsible for teaching yourself how to play the pieces you choose. When it comes to performing, there is actually a considerable amount of research that must be accomplished in order to produce successful, authentic performances of period pieces. This is why your music major friend makes spotty appearances in the library at odd hours. After gathering useful information, the musician then analyzes it for the duration of the performance process, constantly reevaluating the authenticity of his or her interpretation. Next, the pieces must be memorized to perfection until the performer can begin playing at any point in each piece. Now, overcome stage fright, and do it yesterday. Then organize a recital reception so people will actually be motivated to come listen to the result of all your “practice”.

So, the next time your musician friend declines a heartfelt invitation to consume unhealthy food at 2 AM, you might consider bringing him or her that banana pudding milkshake anyway.

Want to experience the results of an incredible piano performance major’s four-year practice marathon? Come to Patrick Bachmann’s senior recital at 7:30 PM on Thursday, April 22. See you there!

Michelle Eichel

April 2010