Practising

Burgmüller’s Op 100 Studies on the Online Academy

One of the most popular series on the Online Academy is my exploration of Burgmüller’s set of studies, the Easy and Progressive Études, op 100. What makes these little pieces so special? Pitched at the elementary-intermediate level player, they fulfil all the requirements of what a study should be: Descriptive titles that inspire the imagination Technique that serves a musical goal Short and to the point Useful as a way to learn harmony, as well as form and structure The problem with many of the didactic études served up to young pianists through the centuries is just how dry, boring and repetitive they are. Instead of inspiring players to practise, they have deadened their spirits. I’ve noticed how many youngsters are drawn to Burgmüller’s op 100 – they still sound fresh, and are immediately engaging. In my series I take each étude in turn, giving a detailed teaching note and a video walkthrough that highlights the learning outcomes and offers advice on the technical aspects as well as how we might practise. We’ve recorded the whole set, and are busy releasing them one by one each week. So far we have reached No. 11, and you can find details of the series by clicking here. The studies are progressive in their difficulty, ranging from approximately ABRSM Grade II at the start to approximately Grade V by the end. A good New Year’s resolution might be to learn the whole set over the course of the year – you will amass 25 studies you can draw on as part of your daily practice! Once you have learned them, you might choose three or four to practise for a week or so at a time before moving on […]

Done and Dusted?

I have noticed a lot of players seem to think that, once they have learned a piece they should be able to play it from then on in, whenever they desire. If only we could do some work on a piece, put the genie in the bottle and uncork it the next time we felt like playing it. Wouldn’t it be great if it worked like that? It is easy to hear when a student has been playing through something without attending to the ongoing maintenance necessary to keep it in good shape. I might take a duster to my piano one day and it looks great for a day or so, before the dust gradually returns. Even an unused room will gather dust, ask Miss Havisham (from Dickens’ Great Expectations). I liken performance, or playing through to spending, and practice to investing, or saving. This is especially true of old pieces we haven’t played in a while. So what does maintenance or revision practice look like? We go back to many of the practice tools we used to build the piece in the first place, when we first learned it. The great Russian pianist and teacher, Alexander Goldenweiser describes this vividly: Another grave problem occurs with pupils underestimating the importance of detailed study when they come to revise pieces that they have already played. Yet it is vital to remember that work done on a new piece one is just starting to play and on something one has played for a long time should be basically the same. The difference lies only in the amount of time involved, but the type of work should in each case be completely identical. When you play through something you […]

By |November 15th, 2018|Practising|2 Comments

Launching the 2018-2020 Trinity Syllabus

I am very happy to announce a brand new series featuring the current Trinity College London Piano Syllabus on the Online Academy. Having been commissioned by Trinity to write the teaching notes for the advanced grades, I was delighted to put together this series of articles and video demonstrations for a selection of pieces from the 2018 – 2020 piano examination syllabus, with several examples from each grade from Initial to 8. Within this series you will find plenty of tips for practice, overcoming technical problems as well as suggestions for piano teachers and guidance on matters relating to style and interpretation. The following are example excerpts from two video demonstrations from the series: Initial Grade – Canon by Henk Badings One of the pieces in the Initial grade is Canon by Henk Badings. There are so many different ways to get value out of this little piece, from call and response games and some singing in lessons to phrase shaping and developing equality between the hands. Grade 4 – Allegretto by Mozart Jumping to Grade 4, and Mozart’s Allegretto, we find a delightful minuet-style piece with a trio section in the minor, and many interesting compositional features that can be explained and demonstrated to the learner. It’s also interesting to know that Mozart wrote this piece on a trip to London when he was only 8 years old. In the video I demonstrate quarantine practice, and explore different fingering possibilities, as well as options for phrasing and expression. The series currently includes two articles which serve as guides to the foundation and intermediate grades, along with video demonstrations for five selected works from the initial grade through to grade 4. Please click on one of the […]

On Rhythm: How to Develop a Steady Pulse  

I decided to put together an occasional series on rhythm, in response to readers who say they experience rhythmical issues when they play. There are many factors that may contribute to this problem, and I am going to cover one point at a time. Welcome to the first post in this series, on the importance of setting and maintaining a steady beat. I can’t think of many activities we do at the piano that are not connected to a pulse, therefore establishing and maintaining the pulse should be the first priority in all we do. This demands special attention during our practice when we are stopping and restarting. At the elementary level it’s the job of the teacher to set the pulse in lessons by counting out aloud energetically one or two bars before every scale, before every piece, and before every time a passage is repeated. After a while, the pupil is invited to set their own pulse by counting out aloud before they play. Laborious? A bit, but well worth the effort. In this way the process becomes internalised, and happens as second nature. Clapping to the Metronome How good are you at maintaining a steady beat? In this metronome experiment, continue to clap the beats when the metronome suddenly drops out. Can you maintain the pulse? Find out here… And now for another exercise. Set a metronome to whatever speed you like, and clap so that your claps drown out the sound of the metronome. If you hear the metronome, the chances are that your clap is a bit before or after the beat. Clapping is just one way of responding to the pulse, but notice how in this Dalcroze Eurhythmics class […]

On Practice versus Playing Through

I am republishing this relatively recent post (from March, 2017) because I think it is crucial to keep reminding ourselves that playing through a piece is a different activity from actual practice, and that we need to regularly maintain a piece we want to keep in our repertoire using many of the same practice tools we used when we first learned it. ***   ***   *** Have you considered the differences between sitting down at the piano and playing through your pieces and the processes of practising? The first situation might feel rather like taking a pleasant drive in the countryside. If your car is in good shape (the battery charged and the tanks full of the various fluids car tanks are supposed to be full of), you won’t have to worry about anything. You will of course need to keep your eye on the road, but you’ll just be coasting along admiring the view and enjoying the time out. I find the distinction between cruising around the piano for fun and serious practice is something I need to point out, regularly. If you are the sort of player who wants to sit at the piano and play for pleasure, you will probably notice a certain frustration after a while that your pieces don’t seem to be getting any better, or that a piece you used to be able to play well is now actually getting worse. You may well discover that on one day your playing flows beautifully and it all feels easy, but on the next day it all falls apart – as though you didn’t know the piece at all. Why is this? I can always hear when someone has been rattling through their […]

How to Manage Repetition in Practice

First published in June, 2017, this post addresses the issue of how many times we repeat a passage, and what should be going through our head as we do so. This is something that applies to all pianists, no matter the age or level. ***   ***   *** Recently I overheard someone practising in an institutional practice room (OK, perhaps I was eavesdropping a bit) and had to smile at what was going on in there. It was the very end of Ravel’s Sonatine, where the left hand is called upon to make a daredevil leap over the right hand, and land on two black notes at the top of the keyboard. There are several intelligent ways to practise this jump to increase the chances of getting it right, but what I heard was quite a number of repetitions in a row, played back to back with absolutely no reflection time in between the repetitions. The student got it “wrong” (meaning it was inaccurate, uncomfortable or she felt it was somehow missing something) many times in succession and then after all this did it to her satisfaction just once – and left it. Had she managed to refine the movements during all these inaccurate repetitions to reach a desired result, now permanently on tap, or had she practised getting it wrong nine times in a row and correct on the tenth attempt? If the latter, the chances of getting it right on the first attempt in performance would be 1 in 10 – not favourable odds. There is no doubt that to refine complex motor skills required in such a passage, a certain amount of repetition is necessary. Yet repetition is a double-edged sword, since whatever we […]

The Three Little Pigs

First published in May, 2016, The Three Little Pigs reminds us of the importance of solid preparation as we learn our pieces, and is the second in this short summer series of reposts from past years. ***   ***   *** We all know the story of The Three Little Pigs, in which each pig builds a home. One takes hardly any time building his out of straw, so he can spend more time playing and relaxing. The second pig builds his home out of sticks, which takes slightly longer, but he too values his down time. The third pig chooses to build his home out of bricks, which requires a great deal more time and effort, but he values taking the time to build a home properly. When the Big Bad Wolf pays a visit, needless to say only the third pig’s house of bricks stands up to the wolf’s huffing and puffing. Comply with Building Regulations The first two piggies used substandard and unsuitable materials, while the third piggy had checked wind load and used approved and recognised methods of construction. In the UK, Building Regulations are minimum standards for design, construction and alterations to virtually every building. They are developed by the Government and approved by Parliament. In my piano studio, I take pride in teaching tried and tested performance skills to those taking exams and diplomas, or those who want to perform for their own pleasure and satisfaction. My building regulations apply from the very beginning of learning new pieces and ensure, as much as is humanly possible, that the end result (the performance itself) will be strong enough to withstand the pressures of the Big Bad Wolf. The House of Straw The player who builds his house of […]

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 […]

An Interview with Nicola Cantan

A few weeks ago I had a visit from Nicola Cantan of Colourful Keys to record an interview with me for her blog. We spent a very pleasant half hour or so chatting about teaching, practising and performing and I thought I would share the video with you here. You’ll notice it is audio only for the first few minutes (there was a technological glitch with Nicola’s camera) but the picture does appear after a while – so stick with it! There are several things Nicola and I discussed that I have written about in my blog, so if you would like to read more about practising then start clicking these links. Speed of No Mistakes  Enjoying Ultra-Slow Practice  Quarantine  Part 1 of my ebook series Practising the Piano is all about practising – exactly what we should be doing in our practice time to get the very best results. If you have not already seen this, then do check out the free preview. Nicola Cantan is a piano teacher, author, blogger and creator of imaginative and engaging teaching resources. She loves getting piano students learning through laughter, and exploring the diverse world of music making; through improvisation, composition and games. Nicola’s Vibrant Music Teaching Library is helping teachers all over the world to include more games and off-bench activities in their lessons, so that their students giggle their way through music theory and make faster progress. Nicola also runs a popular blog, Colourful Keys, where she shares creative ideas and teaching strategies, and hosts regular training events for piano teachers. ***   ***   *** If you enjoyed this blog post, then you may be interested in the following resources: Practising the Piano eBook Series  There are surprisingly few books […]

Seeing the Forest

This week’s guest blog post features an introduction to the From the Ground Up series by its author, Ken Johansen, following its launch last week on the Online Academy. In his post, Ken describes the “from the ground up” approach to learning pieces and the rationale behind his project. I wholeheartedly recommend this approach for anyone who wants to learn new works in a less daunting and more enjoyable way! *** *** *** A page of piano music, taken at a glance, looks a bit like a forest, the black notes forming more or less dense thickets of trees and shrubbery against the white page. Seen from afar, this forest looks fairly uniform; it’s difficult at first to distinguish its content and boundaries, or to see the variety behind the uniformity. But we’ve heard that this forest is enchanted, and we want to explore it for ourselves, so we approach it with a mixture of excitement and trepidation. How do we enter this musical forest, which may sometimes appear dark and impenetrable? Some pianists choose to listen to a recording first, but that is a second-hand experience. We want to walk in the woods ourselves, not listen to someone else’s account of it. A few musicians spend some time just sitting with the score, listening to it inwardly, finding its phrase and section divisions, perhaps analysing the harmony. But most pianists are too impatient for this; they want to start playing right away. If they are good sight-readers and the piece is not too difficult, this can make for an easy and pleasant stroll. But if their reading ability is mediocre, or if they are learning a piece that is at the upper limit of their technical ability (which […]

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