People's abilities vary from person to person.

CB: I guess you're more OK than I am about taking big risks with things like this. Look: She's been working hard on it, and much of it still hasn't been coming. You don't think that means it would at least be very risky that she could have it securely in 4 1/2 more weeks?

I don't believe in spinning the dice so much for things like this.

....Why not try?....

Because success is of great value, not to mention comfort with the performing experience. Failure and discomfort are worth avoiding to the extent we can. I'm very surprised that there's so much opinion on the other side. To each their own but I think it's very ill-advised.


CB: I disagree with just about everything you said.
Everything.

If you don't play it well at this event what are the consequences?

A risk/reward analysis might help determine which direction to take.

Because success is of great value, not to mention comfort with the performing experience. Failure and discomfort are worth avoiding to the extent we can. I'm very surprised that there's so much opinion on the other side. To each their own but I think it's very ill-advised.


CB: I disagree with just about everything you said.
Everything.

If you don't play it well at this event what are the consequences?

Hello All,

How realistic is it if you have a piece that is at the stage where you can play the notes ( at a slow speed in order to play them properly ) and you have a few bits and pieces memorized, to be able to perfect ( note - wise and musically ) and memorize to play for an event in 4 1/2 weeks?
This piece has been VERY difficult for me to learn even though I have been consistently practicing it 3 - 4 hours on the days I practice. I have been making some progress but I am not sure it is enough.

....a less than satisfying to me performance (or a disaster, or anything in between) hurts inwardly in a way that damages one's ability to play well w/o fear the next time....

That's a huge part of where I'm coming from. I don't look at an event like this as just a single thing, even though the "hurt" of a single failure really is bad enough in itself. Even more so, it's part of a process, part of our "life journey" of making music and performing. I put a very high value on doing our best to ensure "success experiences," even if it means we're restricting ourselves sometimes, because of exactly what you're saying. It enables us best to build on each experience for the next ones.

Which ultimately makes one a better player, IMO.

Yes. It vaults us forward.

When in that position in the past, it has never worked out for me. It was a hard lesson to learn that only those pieces that I have well under my fingers will come out ok, and by ok I mean playing well, as compared to avoiding to not crash and burn.

Mark is right...a less than satisfying to me performance (or a disaster, or anything in between) hurts inwardly in a way that damages one's ability to play well w/o fear the next time. At least that is how it has been for me, so I now have a rule---whenever possible, I only play to my strengths.

Thanks for the replies - a lot of interesting thoughts! Sorry I left out the piece, it's Kabalevsky's Piano Sonata no.3 and I have been working on it exclusively for two months now.

My teacher seems to think it's possible but I am a little worried.
I have heard that it is best to secure a piece at least a month in advance -
and I have to admit it is very nice to already have a piece learned and memorized ahead
of time as it gives you a lot of time to work on it musically.

Here is some more information to go by:
Basically the way I have been working on the piece is I have started at the end and am working backwards. I am trying to tackle the most difficult parts of the piece ( which is probably a good 90% ) - I will take sections (sometimes I will practice by sections and sometimes I will practice it a measure at a time) and break them apart. For example, working hands separately, working on separate voices, blocking notes into chords, different rhythm patterns or simply going through a passage slowly.

It is just a little confusing as to why these sections are still difficult. I could be giving up a little soon but I would almost rather be on the cautious side then be without a piece...
Only time will tell - I'm just trying to be safe!
The deadline idea is good, I might try that.

Thank you all again for your help!

....Sorry I left out the piece, it's Kabalevsky's Piano Sonata no.3....

....Basically the way I have been working on the piece is I have started at the end and am working backwards. I am trying to tackle the most difficult parts of the piece....

CB: I still disagree 100% and can't believe what you're saying. [...]

[...] You don't sound very positive about the possibility of learning and memorizing the piece for the event. You said, "...when there is a good possibility it will not be done in time for the event." A "good possibility" doesn't sound like you feel it will be ready.

You also mentioned basically that it would be your "biggest piano nightmare" to not be ready or to not have anything to play. [...]