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Ah, ok. So, a couple thoughts.
How often you could or would want to do this depends on the length of your program, but now is around the time that a lot of folks find it helpful to shift into more “performance-centric” practice, where your practice revolves more around run-throughs, and practicing for the demands of a performance, rather than nitty gritty work on small sections. With orchestral auditions, it’s often easy enough to split a list into 2 or 3-day rotations, where you might do a recorded “cold” (as in, first notes of the day after a short warmup) run-through of 20-30 minutes worth of music every day, and then work on the spots that need the most work based on what you hear in the recordings.
You could even arrange things so that you touch things every 1-3 days, whether in a run-through, or practice. For instance, if you had to prepare all three movements of a concerto, you could run one movement per day, but work on smaller details from each movement every day, so you’d be touching parts of all three movements every day, and at least all of one movement every 72 hours.
You could also run the whole program 2 times per week, depending on how long it is, and then use the recording to decide what bits need to be worked on or touched in the next few days before the next run-through.
You’ll want to make sure you’re not starting to feel burned out from the run-throughs, in which case you can back off of the run-throughs, and do more spots, but the goal with all of this is to practice getting comfortable doing what you’ll have to do on performance day, rather than working too much on little tiny spots and details at the expense of getting comfortable playing through things in one go.
Does this help to provide some ideas?
Noa
