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Piano Day 2021 Festival

The 29th of March is Piano Day 2021 and we’re celebrating with a festival featuring our biggest ever line-up of online events and workshops! Piano Day Weekend Festival Taking place from Fri 26th – Sun 28th of March, the programme comprises ten sessions on various topics, including: Presentations by William Westney on  the technique of playing softly and Ken Johansen on rhythm in sight-reading Two further interactive practising workshops based on our popular “hands-on” workshop format A “Fantasy Analysis” by Graham Fitch on Haydn’s “English” Sonata (click here for Graham’s Fantasy Analysis of a work by Brahms) A special lecture / performance by Harpsichordist Jory Vinikour followed by a workshop by Graham Fitch on Baroque style A chance to perform and get feedback on your playing (or observe) in a performance workshop with Graham Fitch …and much more! Tickets can be purchased for individual events or you can save 20% by purchasing combined “weekend pass” for all ten. All events will be recorded and links to recordings along with any relevant resources will be provided to ticketholders shortly after the festival. Further information on how our online events work is available here. Please click here to view the full programme and booking details. Online Academy subscribers are also entitled to a 40% discount on all events, including the weekend pass (Click here to find out more about the Online Academy or click here to sign-in for your discount to be applied if you are a subscriber). Other Special Offers & Updates We will be making other special offers available as part of our celebrations and providing updates with further information on scheduled events in the run-up. Be sure to sign-up to our mailing list here for further information and notifications!

By |March 11th, 2021|Events, News|0 Comments

A Balanced Approach to Exercises and Studies

A balanced approach to using exercises and studies to solve specific pianistic problems.

Top Tips for Starting a New Piece

Last week I launched a free email course on how to start learning a new piece and lay solid foundations from the outset (click here to find out more). The following is a summary of some of the tips and practice tools from my course which will help you get started on the right track: One (or two) read-throughs is enough to get the gist of the piece – aim for a rough sketch at this stage, leaving out surface detail you cannot manage. Taking the time to practise hands separately is incredibly valuable, not only in the note learning stage but regularly thereafter. Practising separately doesn’t only apply to hands alone, but also to strands. It can be useful to deconstruct a score and play voices separately and then together in different combinations. Working on a piece in small sections at the Speed of No Mistakes ensures accuracy from the start and helps you avoid embedding careless errors that may be hard to fix later. By identifying and marking tricky spots in a piece upfront, you can begin each practice session with a step-by-step sequence of activities designed to solve the problems. Dividing the piece into manageable, meaningful sections helps us structure our practice and ensure that all parts of the piece are equally solid and secure. If you would like a more detailed explanation of these tips and tools, plus examples and other resources then please do sign up for my email course! The course is entirely free, featuring seven video lessons ranging from three to twelve minutes in length. The videos are accompanied by downloads, notes and exercises to help you follow and implement each stage of the process.

How to Start Learning a New Piece

Sign-up for our free email course on how to lay good foundations from the outset when learning a new piece.

Tips & Tools for Learning New Pieces

When learning a new piece from scratch, there are a number of tools we can use to get the maximum benefit from our practice time and to lay the foundations for a secure and successful performance.

Piano Conversations with William Westney

William Westney and Graham Fitch discuss their experience with Dalcroze, desire to empower students, and the various ways they have found to achieve this.

The Hanon Debate (Part 2)

This blog post features the views of pianist Peter Donohoe on the use of Hanon’s Virtuoso Pianist as part of our debate on the subject.

By |February 9th, 2021|Technique|0 Comments

The Hanon Debate (Part 1)

As we saw from responses to last week’s post, the exercises of Hanon are a hotly debated topic. It seems there is nothing more provocative than uttering the name of Hanon to a group of pianists and teachers in a social media forum. The ensuing discussion about the use of the exercises in The Virtuoso Pianist so often becomes tainted by bias and polemic and ends up like a debate on religion, with neither side coming out the winner. Those against cannot imagine there might be such a thing as “using” the blank patterns we find in Hanon for various specific reasons, rather than “doing” Hanon as it says on the tin. I think it is very important to make this distinction. Many drugs developed by pharmaceutical companies are found to be useful for other purposes and end up being prescribed off-label. This principle can certainly be applied to Hanon’s exercises. The Controversy Modern piano teaching has moved away from an insistence on mechanical exercises devoid of musical meaning, and away from the notion of lifting and isolating the fingers from the rest of the hand and the arm (as Hanon’s exercises will do if you follow his instructions to the letter). By spending hours drilling the fingers in the way Hanon indicates, we not only risk wasting practice time that might better be spent on music but – much worse – we ingrain muscular habits that will almost certainly be detrimental and potentially injurious. The Middle Path It can be convenient to use the blank, easy-to-remember (and totally harmless) note patterns we find in the exercises as vehicles to easily experience choreography or coordination between the hands so that these skills can be transferred across to […]

By |February 4th, 2021|Technique|2 Comments

How to Use Hanon

In this week’s guest post, Ilga Pitkevica discusses the ubiquitous exercises of Hanon and shares her views on how to use them effectively. *** Mastering all core types of piano technique is essential for the freedom to successfully express musical ideas and communicate them to an audience. It can be quite frustrating to have a piece one wants to play and to be unable to do it just because some technical challenges seem impossible to master. I have heard complaints on this matter many times in many different and, at the same time, very similar contexts. In my opinion, the solution is fairly straight forward: We pianists need to exercise regularly to maintain our physical ability to play at the standard we want. And if we know how to exercise and warm-up, it does not take too much of our time at all. Hanon’s Virtuoso Pianist in Sixty Exercises Hanon’s The Virtuoso Pianist in Sixty Exercises is one of the exercise books which can be used for this purpose. However, the opinions on this book are divided. On one side, I think its popularity lies in its “simplicity” of notes (in comparison to etudes, for example). In these busy times, when everyone is looking for fast problem-solving solutions, this simplicity can be very important. On the other side, because of this simplicity and plainness, “Hanon” (as its widely referred to as) is often called repetitive, boring and dull. I would argue that repetition makes things permanent. But regarding dull and boring…. well, this is up to us as the pianists! What we think and practise is what we get. If we play Hanon in a dull, boring, hammering way then that is what we will […]

By |January 28th, 2021|Technique|1 Comment

Improve Your Technique!

A collection of resources to help you improve your piano technique and achieve your pianistic goals!

By |January 26th, 2021|Technique|0 Comments