• Store
  • Sign-up
  • Sign-in
Menu
Practising the Piano
  • Home
  • Resources
    • Multimedia eBook Series
    • Online Academy
    • Video Lessons
    • Annotated Study Editions
    • Repertoire Resources
    • Piano Technique Resources
    • Amateur Piano Groups & Clubs
  • Events
    • Calendar
    • Online Events
    • London Piano Courses
    • Practice Clinics
    • Online Performance Workshops
  • Blog
      • Practising
      • Learning Pieces
      • Technique
      • Performing
      • Teaching
      • Archive
  • About Us
    • Help & Support
    • Contact us
HomeLearning Pieces“But it Takes Me Ages to Learn a New Piece!”

“But it Takes Me Ages to Learn a New Piece!”

By Graham Fitch, 2013-07-12 Posted in: Learning Pieces, Teaching

One of the saddest things about our exam culture is spending the best part of a year on three pieces and a bunch of scales, polishing every little detail until perfect. A couple of weeks after the exam, the student has nothing to play because they have forgotten their old pieces and won’t be ready with the new ones for a while yet. This structure means they often have very poor reading skills and are ill-equipped as practical musicians. It is hard to fathom is that a supposedly advanced piano student with years of lessons behind them would not be able to get up and play Happy Birthday by ear at a party, or to read at sight simple accompaniments when called upon to do so.

A very distinguished colleague who taught high-level conservatory students would only ever hear a piece once or twice. Even first year students had to bring something new each week, and while the pressure was often quite intense every single one of them developed the skills to assimilate music very quickly. They had to! Apart from playing extremely well, the best of them became excellent sight readers capable of working out complex scores within a few days. They were flexible and marketable pianists with a large repertoire, just what you want from a conservatory education.

Quick Studies

Not every one of our students would be able to handle this sort of pressure of course, and don’t get me wrong – spending weeks and months polishing and refining certain pieces is absolutely imperative! There is no way we can develop pianistic excellence and finesse without this. To redress the balance between the type of painstaking and time-consuming practise involved in perfecting a piece and the ability to read well and learn fast, I am a great believer in quick studies. Learning a piece from scratch involves different skills and different parts of the brain from playing pieces we already know. If we are constantly keeping these particular grey cells active, they get faster and stronger and this makes processing new material quicker and easier. This is where quick studies come in.

I will give a student a short piece usually well within their capability one week and expect to hear it from beginning to end the next, no matter how sketchy or ropey the playing might be. In the next lesson, we will spend a few minutes on it. I’ll comment on a particular aspect (such as pedalling, tonal balance, rhythm, etc.) rather than give a list of corrections (over and above obvious clangers we can fix there and then). We might discuss the composition and how it’s put together and then try it again immediately, or parts of it again. Whether the student continues to play the piece for themselves is up to them, but I won’t hear it again.

Regular quick studies help speed up the learning processes in general, because the information from the score has to be absorbed and digested very quickly. Playing the piece in the lesson is the performance deadline they have to meet. Whether you do this once a week or twice per term depends on the individual student, but eventually this skill spills over into all they do at the piano. Not only will they beef up their learning skills, they’ll also get better at sight reading and have a number of repertoire pieces to play. Intermediate students can tackle repertoire a couple of grades lower than their current level. For more advanced players, how about taking a set of pieces such as the Beethoven Bagatelles, Prokoviev’s Visions fugitives or Schumann’s Kinderszenen and committing to learning one a week in this way? Devote 10% of your practice time to it, and no more. It doesn’t count unless you play it for someone at the end, though!

A Personal Story

Some of the solo playing I am most proud of took place about twenty years ago. I was asked at four days’ notice to play a concerto at a black tie charity concert, standing in for a colleague who was nursing an injury. I agreed to do it even though I was teaching way too many hours during that period, and playing mostly chamber music. I had to be very creative with the way I used the time during those few days – it was a piece I had played many years before so I had to use what little practice time I had very wisely. I didn’t have time to get too nervous nor to luxuriate in the details, I had to get a professional job done. When it came to the concert, I surprised myself with how everything came together so well (because I am usually guilty of giving myself too much time to prepare for big things). I had managed to achieve in a few short days what I would probably have devoted much more time to under normal conditions, probably more time than would really be necessary. This experience taught me that sometimes it is worth taking a calculated risk and getting outside of my comfort zone.

Parkinson’s Law

Last week I spoke of The Pareto Principle in relation to our work at the piano. This week, I would like to bring in another principle from the field of time management, Parkinson’s Law. The following adage was coined by public administrator Cyril Northcote Parkinson in his 1955 essay for The Economist:

“Work expands so as to fill the time available for its completion.”

If you allow six months to complete a project, it will take six months to complete. If you decide you’re going to do it in three months, it will take three months! Setting a deadline focusses the mind and changes the way we learn and practise. If we have set a time frame to achieve a goal, whether that applies to a component of an individual practice session, or learning and performing a piece from scratch, our mind will tend to focus our energies so as to achieve this. In making the decision we are stating an intention and then focussing on what it’s going to take to get it done. This means that we are more likely to be successful at completing the task within the given time frame than if we had an open-ended attitude.

Tags: beethovenchildrencreativityexaminationsinspirationkinderszenenparkinson's lawprokovievquick studiesrepertoireSchumannsight readingteachingVisions Fugitives

Related Posts

The Three S’s (Part One)

The Three S’s (Part One)

By Graham Fitch, 2011-05-22
Posted in: Practising, Teaching

I couldn’t get far into this blog without talking about one of my mantras, “The Three S’s”. That (for me) stands for “SLOWLY, SEPARATELY, SECTIONS”, despite the array of alternative possibilities on google. This is a neat way of referring to nitty-gritty practising - the sort of thing we do to…

Read More

Tags: beethovenChopindummyinghands separatelymemorySeparatelyThe Three S's
The Three S’s (Part One)
A Lullaby, Loeschhorn, Pescetti & Haydn

A Lullaby, Loeschhorn, Pescetti & Haydn

By Informance, 2023-06-01
Posted in: Examinations, Learning Pieces

A selection of video excerpts from our recent new additions to the Online Academy featuring works from the elementary and intermediate grades, including a Lullaby by Charles Stanford, a study by Loeschhorn and two movements from sonatas by Pescetti and Haydn.

Read More

Tags: ABRSMabrsm 2023 & 2024ABRSM Grade 2abrsm grade 3ABRSM Grade 4ABRSM Grade 5elementaryexaminationsHaydnintermediateloeschhornpescettistanford
A Lullaby, Loeschhorn, Pescetti & Haydn
Playing Piano Music from the Classical Period (Part 2)

Playing Piano Music from the Classical Period (Part 2)

By Informance, 2024-02-29
Posted in: Learning Pieces

Graham Fitch discusses how to approach playing piano music from the Classical Period, exploring dynamics, pedalling, ornaments & embellishment.

Read More

Tags: beethovenclassicaldynamicsHaydninterpretationMozartornamentspedallingstyletouch
One Comment
Playing Piano Music from the Classical Period (Part 2)

Previous Post

“Sorry, I haven’t done as much practice as I would like this week…”

Next Post

Freedom in Interpretation

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

*

*

3 Responses to ““But it Takes Me Ages to Learn a New Piece!””

  1. Roger Dalton

    2022-09-07 on 1:40 PM

    Love this article, thank you for the insights. It’s exactly the reminder I need to move forward.

    Reply
  2. Mrs Margaret Alison Priest

    2023-10-12 on 8:30 PM

    In the Brahms intermezzo in A major
    I don’t like you saying forwards and backwards to describe Rubato, I think speeding up and slowing down is a better way. My piano pupils may think I’m
    literally moving my body backwards and forwards, or moving my hands towards the top of the keys touching the wood at the very top and then moving
    my hands so the top part of the fingers are touching the very edge of the white keys! It wouldn’t take a lot
    of explaining to point out that it is the amount of time that is being taken away to play it faster, and then more time is given back,thus it is slower. You could call it Give and Take. Children and teens and even some adults may take forwards and backwards
    too literally as I have described. I even wondered what you mean’t ! I know that this is rather too
    advanced for beginners, but I’m thinking of Grade 6+ or any lower grades with Rubato in it. Thank you
    for your wonderful Videos and instructions, I’m a fan!

    Reply
    • Ryan Morison

      2023-10-25 on 2:50 PM

      Thanks Margaret and while we understand your point about it being taken literally by younger learners, our audience is very broad. Furthermore, Rubato is more than just getting faster / slower but “give and take” or “pushing and pulling” are also apt ways of describing it!

      Reply

Sign-up To Our Mailing List!

Sign-up to our email newsletter for free resources, news updates and special offers!

TOPICS

  • Practising
  • Learning Pieces
  • Technique
  • Performing
  • Teaching

LINKS

  • Online Academy
  • Informance
  • Help & Support
  • Contact Us

© 2025 Practising the Piano All Rights Reserved

  • Twitter
  • Facebook
  • YouTube
  • LinkedIn
  • Privacy Policy
  • T&Cs
We use cookies to ensure that we give you the best experience on our website.OkMore Information