The purpose of this 3-day routine is to practice performing a work, and assumes that one has completed the previous stage of practicing to learn the work. It should be started about 14-21 days before the first public performance.

Day 1: Run-through. For microphone (and friends). Check your recall of problem spots by listening to the recording.

Day 2: Woodshed these spots as efficiently as possible. Use creative problem solving and innovative techniques, not just repetition.

Day 3: Continuity Practice. The distinctive element of a performance is that it must maintain continuity in time. This is the most important shift in thinking for the performer from the previous stage of practicing to learn the work, which often takes place in segments, and does not place top priority on continuous forward thinking from beginning to end.

In addition, continuity practice aims to provide a regular touchstone and reinforcement for 3 foundations of performance: tempo awareness and control, body efficiency (no tension) and how it creates fundamental singing tone, and (for soloists) memory security.

Continuity practice is a run-through at 85, 90, or 95% performance tempo. Pick a different one each time so you build up a repertoire of possible tempi you are confident you can hold from beginning to end, for use in different performance situations.

After picking your tempo for the day, pick one additional focus for your continuous awareness: body/tone or memory, pedaling, dynamics, etc.