Fundamentals of Scale and Arpeggio Playing

Scales and arpeggios are part of the requirements of all examination boards, and every pianist will encounter them. The importance of knowing scales and arpeggios in every key cannot be exaggerated, but many players struggle with them because of poor technique. How do we learn to play any scale at the drop of a hat? How do we play an even scale at a suitable tempo, with the correct fingering? How do we manage the thumb movements in an arpeggio accurately without bumping? How do we sit, how do we move across the keyboard without tension? I have addressed all these questions and others in my new module in the Online Academy’s technique library. With detailed instructions in the videos, along with printed exercises and their demonstrations, I hope this material will assist you on your journey to making friends with scales and arpeggios. Once we realise that all scales are made up of short (1, 2, 3) and long groups (1, 2, 3, 4) in alternation we are in a much better position to learn the fingerings. Not all scales begin at the start of a fingering group; to embed the fingerings, blocking practice is helpful. How do we solve the problem of the thumb in scale playing? There are several ingredients – a smooth arm with no drops in the elbow, mobility in the thumb itself, and freedom in the wrist. This video excerpt offers some suggestions for practice. Attention to whole-body choreography is especially important to feeling comfortable in arpeggio playing. This video demonstrates how we sit and how we move across the keyboard. *** Elementary Technique – Fundamentals of Scales & Arpeggios is available for once-off purchase here or with an Online Academy subscription. […]

Some Ideas for Mental Practice

Many of you will have read the fascinating story of Andrew Garrido’s piano journey. As an 11-year old boy keen for lessons which his family could not afford, he did not even have access to a piano to start with. Undeterred, Andrew made a paper keyboard which he stuck to his desk. By clicking notes on an online keyboard, he was able to remember the sounds and “play” them back on his paper one. Apart from a short series of lessons, he made significant progress all by himself – ending up firstly at the Purcell School and now on a scholarship at the Guildhall School of Music and Drama. Even though he now has access to pianos, Andrew states: “The irony is that I continue to do a lot of my practice away from the piano: what we call mental practice. It unlocks key areas of the mind that are less readily accessed by piano playing alone.” Mental practice is something I wish I had done more of when I was a student. I was acting on the mistaken belief that only time spent practising at the piano would make any difference to my playing. Had I known better, I could have spent time sitting on the train visualising the pieces I was studying; this would have created pathways though my brain cells as if I were actually playing the piece – all without moving a muscle. According to his memoirs, Artur Rubinstein learned César Franck’s Symphonic Variations on a train on his way to the concert. As there was obviously no piano on the train, he practised passages in his lap. Once we understand that effective piano practice does not necessarily involve making sounds, we might […]

Laying Solid Foundations in a New Piece

Have you had the experience of learning a new piece one day and coming back to it the next day to find it hasn’t stuck at all? If you approach a new piece using the repeated read-through method, you’ll probably find at the end of a practice session you have managed to get it sounding better than it did at the start of the session. But how frustrating when you come back to it the next day it feels like it hasn’t stuck at all! Fortunately, there are much better ways to go about learning a new piece such as using my Three S’s: Slowly, Separately and Sections to build solid foundations for consistent progress. In the following video, I demonstrate The Three S’s in action using Petzhold’s Minuet in G minor (BWV Anh. 115) from the Anna Magdalene Notebook. Working in units of one bar (plus one note) and with each hand alone, we find as many patterns as we can as we practise. By patiently repeating a small unit of music – enough to hold in our working memory – at the speed of no mistakes and with our mind fully engaged, we are digging firm foundations for security later on. Practice like this takes a fair deal of discipline, but the rewards are significant. Remember: “Practice makes permanent, and only perfect practice makes perfect!” For more detailed information on the process, follow this link to my blog post, A Daisy Chain Further Information & Resources The Practice Tools Lecture Series (click here to view the series index) Q-Spots Series (click here to view a blog post on this series) Practising the Piano multimedia eBook series – Part 1: Practice Strategies and Approaches (click […]

Thoughts on Piano Technique

After some initial trepidation regarding how to approach extending our resources on the complex subject of piano technique on the Online Academy, I am happy to say that we have just published the first module in a new collection, with others to follow in due course. Because there can be no such thing as a one-size-fits-all approach to teaching technique, as it grows, our technique library will also contain content from other leading experts offering different angles on the subject. As such it will be a research-based, organic and consistently growing resource representing diverse viewpoints. I have several worthy books on piano technique on my shelves, some are clearer and more usable than others. However, as soon as an author starts writing about hand positions, arm movements, giving detailed instructions about what the fingers are supposed to be doing in a given situation, etc., they immediately run the risk of being misunderstood. Very often the excessive verbiage involved is hard to fully understand, even by the most educated of readers, and any images included can only tell part of the story.   In the modern age, many of these problems can be resolved by video demonstrations. Building text-light modules around a number of videos has been my default choice of format this new material. Some videos are longer with more description; others are very short indeed – with few words, if any, and filmed close up. The beauty of the short videos is they can easily be watched repeatedly, when you might want to check and recheck how a particular movement looks. My aim is to identify and use the best format to communicate the subject matter at hand.   My attitude to technique is based […]

By |February 20th, 2020|Technique|0 Comments

Technique Library & Resources Preview

Following our announcements last year regarding upcoming projects and content, we’ve been hard at work on a collection of modules on piano technique, the first of which is now available on the Online Academy – with others to follow thereafter. These initial modules will cover technical fundamentals, scales and arpeggios and a detailed exploration of forearm rotation. The first module explores the basics of piano technique, covering seating position, posture, whole-arm and legato touches. Using a combination of bite-sized annotated video demonstrations, musical examples and downloads, this module shows how to move in ways that are natural to the body and to achieve physical freedom for playing that feels and sounds good. It will be a good starting point for beginners and useful for piano teachers who teach beginners as well as those seeking a refresher or “health check” on the basics.    The next module will look at the basics of scale and arpeggio playing, featuring close-up video demonstrations of the movements involved. The following video example takes a break from the technical aspects and offers a practical keyboard theory lesson showing how we can go through the circle of fifths one key at a time, clockwise in the sharp direction or anti-clockwise in the flat direction by playing the scale as a chord (all eight notes together, one tetrachord per hand). The scale-chord gives us a bird’s-eye view of the scale and is an excellent way of seeing the pattern of black and white keys as a whole. Building on the first two modules is an extended video-based course on the principles of forearm rotation and its application, with many musical examples and text. This video excerpt shows a short example of how […]

By |February 13th, 2020|Technique|4 Comments

Q-Spots Series: Beethoven’s Für Elise

This is the third in my series on Q-Spots, and I’m going to feature one short excerpt from Beethoven’s Bagatelle No. 25 in A minor, WoO 59 – otherwise known as Für Elise. Q-Spots (short for Quarantine Spots) is a practice tool whereby we identify and mark in the score those sections in a given piece where we stumble, fumble or approximate the notes. As we play we know things are not quite right, but a little voice in the back of our mind says “it’ll be OK tomorrow” or “once I run through the piece a few more times I’ll eventually get it”. A much more effective and economical approach is to identify and then quarantine such sections (they might be as short as a bar or two) and apply a step-by-step approach to our practice before reintegrating the Q-Spot backs into the piece. This means not starting at the beginning each time we practise, and going back to the step-by-step process each day for several days until our inner Quality Control Inspector is happy to sign off the work.  In my Online Academy article on Für Elise I have come up with two Q-Spots that cause players to baulk. The Q-Spot I want to look at today is the C major episode (bars 29 – 35), the site of many a derailment. I have included the bar before the problem begins because it is important to be able to lead into the difficult spot from slightly before (besides which the LH fingering in bar 29, if you go with it, could use a little reinforcement from the extra practice this bar is going to get).  Start with the left hand! Whenever there is a difficulty present […]

Some Practical Suggestions for Debussy’s Voiles

There is one scale that can take plenty of pedal without sounding in any way offensive, the whole-tone scale. Because all six notes of the whole-tone scale are the same distance apart, there is no leading note or tonic, thus no feeling of a stable tonal centre. The only triads possible are augmented ones, which feel the same in their inversions. Try an experiment. Put the right pedal down and play a whole-tone scale; if you do this fast and light, you will invoke the magical spirit of Tinkerbell herself. This arrangement between the hands works well, crossing over from right hand to left up and then back down as you like.  Debussy’s Voiles, the second Prélude from Book I, moves between whole-tone and pentatonic harmonies. If the whole-tone scale itself is ambiguous, so is the title. Voiles translates as sails or veils; the piece might be about either, or both. Currently set for ABRSM Grade 8, it offers the player vast scope for creating variety in touch and tone, skilful layering of sounds and subtle pedalling. I’m going to look at one or two things in the blog post that I hope will help you as you discover what is possible, especially with regard to pedalling.  Pedalling is always problematic in Debussy’s music since he left so few markings, preferring to leave it to the performer. Voiles contains the only pedal mark in Book 1 of the Préludes – the long pedal at the end.  Why was Debussy so reticent about marking pedalling in the score when he notated all other details of performance so scrupulously and painstakingly? It is of course impossible to notate the depth of sustaining pedal depression and indispensable techniques such as flutter and fractional pedallings, since these will […]

Advanced Sight-Reading Curriculum Launched!

This week’s guest blog post announces the launch of a unique new online sight-reading curriculum for advanced pianists by Ken Johansen, associate professor at the Peabody Institute of the Johns Hopkins University and Online Academy contributor. *** *** *** Introducing the Advanced Sight-Reading Curriculum It gives me great pleasure to introduce the Advanced Sight-Reading Curriculum to readers of this blog. This is the curriculum that I use in my class for piano majors at the Peabody Conservatory. It has been nearly twenty years in the making, and I believe that there is at present nothing else quite like it, in print or online. Virtually all piano teachers agree that sight-reading is an extremely important skill, perhaps even the most important. At the same time, it is a difficult skill to teach. It requires a vast quantity of carefully-chosen music, and the gradual, but concurrent, development of multiple aural, analytical, technical, and cognitive abilities. In this curriculum, we work on each of these component abilities – twenty of them altogether – individually, tackling the complex multi-tasking activity of sight-reading from twenty different angles, as it were. Improvement in sight-reading comes not simply from playing lots of pieces, but from acquiring new habits, and learning to think in new ways. Each of these new habits of mind needs first to be isolated, worked on with deliberate attention, and repeated in enough musical examples to become second nature. Whether we are learning how to read ahead, mastering dotted rhythms, or practicing the simplification of complex textures, we first need ways to think about these things, then lots of musical excerpts to practice them on, without too many other difficulties to distract or confuse us. Each of the twenty […]

By |January 23rd, 2020|News, Practising|0 Comments

An Essential Guide to Healthy Piano Playing

Piano playing is a deeply satisfying artistic activity, but it can also be very demanding physically on our arms and hands. Just as elite athletes understand and care for their bodies, so should pianists think carefully about their approach to playing and practising. A healthy piano technique not only avoids injury – it also helps to achieve greater freedom of expression, a more beautiful sound and quicker progress. With the number of piano-related injuries on the rise and as a response to this growing problem, we have worked with leading expert in pianist injuries, Penelope Roskell to publish a new guide to preventing and recovering from injury for pianists and teachers. Combined with Penelope’s existing resources on Yoga, warm-ups and posture, the guide offers detailed information on each of the most common playing-related injuries with numerous video demonstrations of practical remedial exercises to aid recovery and prevent relapse. The information contained within this guide is based on Penelope’s many years of experience in working with pianists with injuries. Although it will be useful to any pianist, it is especially beneficial for those experiencing fatigue, tension or pain and piano teachers who want to know more about helping their students keep healthy. The guide covers the following topics: Healthy playing – Develop a healthy technique (and wise practise) methods for greater freedom of expression, improved sound quality and quicker progress General advice on healthy and wise practising Whole-body approach and sitting posture Warm-up sequence Preventing and recovering from injury – Learn how to look after your arms and hands to avoid problems in future and general advice on recovering from injury Common pianist injuries How to identify common injuries like RSI, carpal tunnel syndrome and tenosynovitis […]

By |January 16th, 2020|News, Technique|0 Comments

Edvard Grieg’s Arietta

Edvard Grieg’s collection of 66 short Lyric Pieces includes some of his best known music. They were published in 10 volumes between 1867 and 1901 and because most are accessible to the intermediate player, they will always find a place in the pianist’s heart. This does not mean that the music is only for the amateur; on the contrary, many of the world’s greatest pianists have recorded and programmed them. The theme of the very first piece of the collection, Arietta (Little Song), was one of Grieg’s favourite melodies. You might begin by singing and then playing this beautiful melody alone, taking time where the music needs to breathe. Once you have a sense of its shape and flow, add the bass line, noticing its contours and how it supports the upper line. The middle element consists of broken harmony shared between the hands, similar in texture and design to Schumann’s Von fremden Ländern und Menschen (Of Foreign Lands and People), the opening piece from Kinderszenen, op. 15. Balancing the texture is one of the main challenges of the piece. It is a good plan to practise the middle semiquaver (sixteenth note) line by itself, making the connections as seamless as possible as one hand passes to the other (do this with and without the pedal). It is also excellent practice to omit the melody line; if you are feeling ambitious, try singing the top line as you play the accompaniment and bass line (tricky, but worth it!).  A few pointers for practice: Hold on to the long bass E flats (bars 1-4, 15-16), so that when you change the pedal the bass note is still present. Avoid pedalling through the rests, but elsewhere change […]