Periodization Theory and Peak Performance Exemplified Through Extended Techniques
VII. Periodization of Heinz Holliger’s (t)Air(e)
VII. Periodization of Heinz Holliger’s (t)air(e)
Once the required techniques for a more difficult piece have been built, we are going to look at periodization applied over a longer time period. Periodization was helpful on a weekly basis. We differentiated between high and low intensity tasks to build stamina, muscle and flexibility. One situation that musicians repeatedly have trouble with is structuring larger time frames. We’re generally misguided, adding up more blocks of repetition for security. Any flutist who has stepped into the orchestral excerpt track has probably experienced this. The challenge is not to play the excerpts, but to keep them fresh.
Periodization does not erase repetition altogether, but differentiates between repetition that is helpful and repetition that is not. The goal of periodization at this time is to prepare thoroughly yet recover enough lost energy to peak in time for the performance. By adding practice variability, we reduce the probability of boredom. We also reduce the possibility of panic because of a loss of skill. Loss of a previously established skill signifies overtraining, not too little training.
The following sections take apart this piece to set up a work plan for a performance.
a. Breathing Challenges
This is not the first piece of Holliger’s to focus on air. Air, in this piece, is composed. You don’t get to chose when and how to breathe. He chose it for you. This piece is one of several from...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.