Playing two programs a week with Grant Park has had me thinking about how I prepare for a first rehearsal.

With only 2-3 rehearsals on a program before a concert, it’s imperative that every musician knows their part (and hopefully the piece) cold for the first rehearsal, so that rehearsal time can be devoted to interpretation, style, and ensemble.

Ideally, when I prepare a piece of music, the first thing I do is get a recording and listen to it while I’m making reeds or while I’m in the car to get an overall picture and feel for the work. Then I’ll listen to it with my music and a pencil and note specific tempos, solos, and touchy spots.

For a lot of the repertoire, there are traditional nuances that the printed music alone won’t clue you in on, so recordings are a great help. When I practice my part, besides getting the technical stuff down, I practice the style of the piece and interpret the printed markings appropriately.

At rehearsal, no matter how much you’ve practiced, the conductor or your colleagues will have new ideas—my teacher, Richard Killmer used to say “be prepared for anything,” meaning different tempos, articulations, anything.

As much as we prepare in the practice room, savvy musicianship and an open mind are imperative to a fluid first rehearsal. For the pieces without available recordings, this is especially true.

Expect the unexpected at a first rehearsal and be open to it, and you’ll discover that sometimes the best ideas are ones you never even thought of in the practice room.