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Top Tips for Choosing Fingering

If you are a serious student of the piano you will certainly want to use an Urtext edition where applicable. Some Urtext scores come with no fingering, but others contain fingerings that are by an editor. The fingerings might be excellent (they often are not, by the way), but because this is one level of the score that is not usually Urtext (namely from the composer) they do not have to be obeyed. What about fingerings that do come from the composers themselves – are we duty-bound to stick to these? Absolutely not! The composer’s hand was also unique, just like yours and mine. There can be no standardisation of fingering, no matter whether it is from the composer, an editor, or a teacher. The only correct fingering is the one that works for your hand. Fingering in any score is a suggestion only! Once a fingering has been selected, practising always with that fingering means that after a while the series of finger strokes will become automated – we will not have to think about which finger goes where because when we master a new motor skill, we go from active effort (thinking and concentrating) to automatic ability. If we haven’t taken the trouble to organise a good fingering or we practise with different fingerings each time, we make life difficult for ourselves – especially if we are preparing a memorised performance. Practice makes permanent, so whatever we engrave on our motor cortex is going to stick. This is why it is very difficult to correct embedded errors later – and this includes sloppy fingering. I have just written three articles on fingering for Pianist Magazine – the first two are already published, and the third (on redistribution) […]

Mid-year Wrap-up and What Lies Ahead…

We’re now just over half way through 2018 and as always, it’s been a very eventful year for both the Practising the Piano blog and Online Academy. With the summer holidays soon upon us, we will be winding down briefly before resuming an extensive schedule packed with publishing of new resources and updates for the remainder of the year. Therefore, we’d like to take this opportunity to review some of the highlights from the year so far and to share some insights as to what’s in store. Online Academy Highlights It’s been almost two years since the launch of the Online Academy in September 2016 and the site has grown to over 300 articles, 1000 music excerpts, 200 videos and 100 downloads (more information on featured content and resources is available here). Some of the highlights of the year so far include: A new series of resources focussing on technique kicked-off with a comprehensive guide to playing double notes at the advanced level. This guide is comprised of several chapters featuring over 100 musical excerpts, 40 video demonstrations and downloadable worksheets. Click here to view the introduction and index. Launch of an extensive new collection of walkthroughs called From the Ground Up devoted to learning individual pieces using outlines and reduced scores that help you to practise more effectively, memorize more consciously, and interpret music more creatively. Each From the Ground Up edition starts with a reduced score or foundation to which detail is then added in layers with successive scores. Click here to find out more about this series or here to view a listing of available works. Two new Annotated Study Editions and online walkthroughs featuring Debussy’s Girl with the Flaxen Hair and Brahms’s Intermezzo in A Minor (Op. […]

By |July 17th, 2018|eBooks, News|0 Comments
  • The 20-Minute Practice Session The 20-Minute Practice Session

    The 20-Minute Practice Session

The 20-Minute Practice Session

First published in April, 2015 The 20-Minute Practice Session remains one of my most popular blog posts. Here it is again, slightly modified and updated – the first of this short summer series of reposts from past years. I hope you find it helpful! ***   ***   *** If we want to develop as a pianist, there’s no escaping regular, routine practice. Passion for the music and for the piano are essential ingredients – if we are not fully engrossed in what we are doing, we are not going to want to put in the necessary hours and we won’t learn. In this post, I aim to show you how to structure your precious practice time to get the best results. If your practice is feeling overwhelming or aimless, then the 20-minute approach is really going to help you! Attention Span Our attention span is the amount of time we can stay fully focussed on a particular activity without becoming distracted. Time is a precious resource, so it is in our best interests to use our time to our best advantage – aiming for maximum efficiency. It always worries me when a student claims to practise 8 hours a day. Unless they have accepted a last-minute engagement requiring frantic practice tactics, spending this long is neither wise nor necessary. A sponge can only hold so much water; if we pour more on an already saturated sponge it is going to trickle off and get wasted. Perhaps constant texting and checking your Facebook status have completely eroded your attention span? You can use this test to find out how long your focus is. If you want to significantly increase your attention span, I can recommend meditation as a very […]

Where Do We Find Musical Expression?

This week’s guest blog post features an article on finding musical expression when learning new pieces by Ken Johansen. In this post, Ken suggests practise methods using examples from various pieces featured within his From the Ground Up series to help you discover an interpretation for yourself from the inside rather than relying on external instructions. *** *** *** Where Do We Find Musical Expression? Some years ago, I took a class and several individual lessons in the Feldenkrais Method, a technique developed to improve physical functioning by imparting an awareness of how we habitually use our bodies. In this training, the instructor doesn’t issue prescriptive instructions (“keep your back straight,” “don’t let your shoulders sag,” etc.). Instead, she guides the students through simple movements and exercises that allow them to experience new sensations. Simply by being consciously aware of these sensations, the students re-program their own brains to learn new, healthier movements and habits. It immediately struck me that this kind of instruction, in which the teacher is more of a facilitator who creates conditions that allow students to make their own discoveries, rather than a master who dictates the “correct” way of doing something, was of great relevance to music teaching. So much music teaching relies on correcting mistakes (“your left hand is too loud,” “don’t accent that note”) and giving instructions (“make a diminuendo here,” “slow down there”). What if, instead of correcting mistakes, teachers could help their students to discover the logical, natural expression of a piece from the beginning? Perhaps instead of just giving students instructions about how something should sound, we could devise exercises that would help them to experience the music directly and develop their own responses to it. Why, one might ask, […]

Flexibility in Pulse

I heard Chopin’s beautiful Waltz in A minor in a class the other day. The basic feeling, tempo, balance between the hands and the pedalling were extremely good, and there were some lovely sounds. But I was struck by how straightjacketed the performance felt to me from a rhythmical perspective. When I asked if he had been using a metronome, he told me he had been practising on a digital piano with a waltz backing track. Doing this regularly had completely ironed out any sense of natural phrasing and timing, and the sort of gentle ebb-and-flow rubato this piece needs to bring it to life in performance. When I was a boy, fascinated with music and how it all worked, I once tried to synchronise the new metronome I was given for Christmas with an LP recording – just to check whether whoever was playing was doing so in time, since this was stressed as being very important by my teacher. I had a few LP vinyl records at that stage, but no matter which recording I used I was unable to get the metronome to line up with the beats from the record for more than a bar or so. Naturally I assumed it was my metronome that was faulty, and thought of asking for it to be fixed, or swapped for one that worked properly. I didn’t know at the time that no artistic performance of any piece of music could be bound to a fixed beat, rigidly applied. You’re probably thinking – sure, Romantic period music would obviously make no sense when played against a metronome but anything Baroque would synch up, wouldn’t it? Certainly so strict-looking a page of semiquavers as […]

Practising a Performance

In a recent stint of adjudication work, I was struck by those who were able to steer themselves confidently through a performance on an unfamiliar piano in front of an audience, and those who let the sudden spike in adrenaline at an erratic moment get the better of them. The result might have been a stumble, or a total derailment or playing that just felt anxious and on edge. Small slips and blemishes are a part of any performance. Our ability to recover from these (or rise above the voices in our head that can suddenly cause us to lose concentration or doubt ourselves when we play) comes down to a large extent on procedure in the practice room. Or, to put it another way, our training routine. If we always allow ourselves the luxury of stopping and correcting an error when it happens in our practice, or stop when we don’t like the sound of something, we soon establish pretty strong reflexes for stopping. It is extremely unhelpful to have to inhibit these reflexes when we are in front of an audience, an examiner or adjudicator. At that moment we become well aware that we must keep going. There are two fundamentally different types of practice that we do in our studio, by ourselves as part of our routine. Practice Mode 1 allows us to stop whenever we need. This could be when we notice a wrong note, or when we hear our pedalling isn’t quite working, or when a passage feels clumsy and out of control. We address this by using certain practice tools, experiment with different speeds, finessing our sound until we get it the way we want it. This might mean repeating […]

Making the Well-Known Our Own

This week’s guest blog post features an article on how to approach interpretation of well-known works by Ken Johansen, author of the From the Ground Up series. In this post, Ken shares his thoughts on preparing a new edition for his series featuring Chopin’s Nocturne in E-flat, Op. 9, no. 2 (please see further information at the end of this post) and provides some suggestions as to how one can develop a personal interpretation of popular works. *** *** *** Making the Well-Known Our Own Thoughts on Learning Chopin’s Nocturne in E-flat Why do certain piano pieces become so well known? A catchy title seems to help, whether given by the composer or not. One thinks immediately of Mozart’s Rondo Alla Turca, Beethoven’s “Moonlight” Sonata, and Chopin’s “Raindrop” Prelude. In addition, these popular pieces combine high musical quality, compelling emotional content, and technical approachability. And of course, the more they are performed and recorded, the more other people hear them and want to play them, making them still more popular. Playing a popular piece of music brings a certain pleasure, like visiting a monument we’ve seen countless pictures of (the Eiffel Tower, the Little Mermaid). We already have an emotional connection to the piece, and our aural familiarity with it gives us easier access to it. But familiarity also poses challenges. It’s difficult to explore a score with fresh eyes and ears when we’ve already heard others play it countless times. Rather than searching for our own understanding of the music, we may subconsciously be trying to recreate a recording we admire. These thoughts occurred to me as I was preparing an edition of Chopin’s Nocturne in E-flat, Op. 9, no. 2 for my series, From the Ground Up. […]

Playing Double Notes at the Advanced Level

When I was a student, I was struck by the two opposing camps that seemed to exist among my peers. There were those whose teachers expected them to be practising finger exercises and studies religiously each day for at least an hour, and others who were supposed to build up their technique almost exclusively from the repertoire they were learning. Whether you were assigned reams of Pischna, Dohnányi, Czerny and Clementi, or managed to escape this treadmill largely depended on which school of pianism you inherited, and where in the world you received your pianistic education. The concept of a thorough training in the mechanics or gymnastics of piano playing as a separate activity from real music became very popular at the time the conservatories were being founded and is still very much alive today – even though some newer systems of pedagogy challenge the fundamental concept. In the twentieth century, celebrated Juilliard teacher, Adele Marcus (herself a product of the great Russian tradition) required her students to spend ninety minutes daily working on technique, and had a strict regime they had to follow. While many well-known teachers advocate this today, many others do not. Does this system produce better pianists that those who build up technique from repertoire, inventing their own exercises from their pieces to help solve specific problems? Certainly a great pianist will always emerge from any school or tradition of piano playing. I am about to launch a substantial new collection of resources exploring areas of technique on the Online Academy, and this will involve looking at a selected number of exercises and studies. From this you may draw the conclusion that I am a great fan of studies and exercises, but […]

Feeling Comfortable in All Keys

Do you feel comfortable playing in all keys? Are you able to transpose technical exercises without notation? The ability to play by ear in every key is an important musicianly skill, one that cannot be developed soon enough. When we transpose technical exercises not only do we develop our aural awareness but also our keyboard geography as we experience the different black-white terrain under our fingers that each new key offers. This adds enormous value to the gains from any exercises we might be practising, and to our technical development in general. Most of the exercises we find in the various books of technique regimes give the full version of a particular exercise only for one or two keys (usually C major, and if we’re lucky Db) before trailing off with an unhelpful “etc”, or the instruction to “continue through all keys”. The ability to carry on without any further notation relies on two skills: An understanding of the structure behind the given note patterns found in the particular exercise Thorough knowledge of each key (major and minor) Knowledge of the basic chord shapes and qualities – many exercises use mainly major, minor, diminished and dominant 7th chords Pattern Recognition It is far better to memorise the exercises as soon as possible so all your attention can be focussed on the matter at hand. It is infinitely more beneficial that your eyes are directed at the keyboard and that your mind is focussed on the task (not being distracted by having to read from the printed page). The ability to memorise relies on pattern recognition, a skill that improves with practice. Let’s explore this a bit, using the infamous and all-too-familiar note pattern from the first exercise of […]

Virtuosic Pedalling

Are you squeamish about using the soft pedal? Some players never venture there, because at some point their teacher has told them they need to be able to control soft playing by hand – and if they resort to the soft pedal they will soon come to use it as a crutch and will have no control of their sound. Those who fear their playing is disturbing others often seem to slam down the soft pedal at the start of a practice session and leave it there until they are done. They have set up such a strong reflex that their left foot just goes there automatically, no matter the piano or the situation. The effect is to muffle the sound and remove clarity and focus, a bit like someone apologetically covering their mouth as they speak. This is not good for general, habitual use at all but is a wonderful resource if it’s the sound you’re after for a particular effect. Have you stopped to consider that every single piano in the world comes equipped with a soft pedal, from the humblest upright to the mightiest concert grand? A muting device was even included on the earliest pianos (at that stage a hand stop), and in more recent developments from Fazioli we now have fourth pedal to the left of the others on the F308 model. The new pedal reduces the hammer-blow distance, thus reducing the volume without modifying the timbre (akin to the mechanics of the soft pedal on an upright piano). One might deduce from all of this that the soft pedal is here to stay – and is certainly there to be used. There is a fascinating new video just out from Frederic […]

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