learning a piece

Laying Solid Foundations in a New Piece

Do you get frustrated when learning a new piece that it doesn’t seem to stick from one day to the next? 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. Practice makes permanent, and only perfect practice makes perfect! Fortunately, there is a much better way to learn. In this video, I demonstrate The Three S’s in action – slowly, separately, sections – 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 – and permanent! 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 here for more information)

The Myth of Evenness

This week’s guest blog post features an article on evenness and rhythmic groupings by Ken Johansen with an example from his From the Ground Up edition for Bach’s Prelude in D Minor (BWV 935). *** *** *** For many pianists, playing evenly is a bit of an obsession. We spend long hours trying to make our scales, arpeggios and passage work perfectly smooth and equal. This ideal is embodied in the famous jeu perlé, in which each note is like a pearl on a necklace – separate and identical, though united on the same string. But do we really want every note to be identical? Clearly, we don’t want unintended irregularities of tone or timing, such as bumps on the thumb in scales and arpeggios. Music, however, absolutely requires constant expressive, intended inflections of tone and rhythm. A string of equal notes doesn’t make a musical line. To modify Socrates’s famous saying, the uninflected line isn’t worth hearing. Nowhere is the need for expressive inflection more important, or its absence more noticeable, than in the music of Bach. The continuous sixteenth-note (semiquaver) motion of much of his music seems to invite the kind of uninflected, mechanical playing that used to be called “typewriter” playing. At the same time, the beauty of Bach’s writing can inspire playing of great rhythmic subtlety and vitality. For Bach designs motives and melodies to have a built-in momentum and rhythmic drive. He does this in the subtlest of ways using the simplest of means – namely, the intervals and melodic changes of direction he chooses. This subtlety is on full display in the Prelude in D minor, BWV 935, currently set in the Trinity College London piano examination syllabus, Grade […]

The Floating Fermata

I first published The Floating Fermata in 2015, and was surprised by how much positive feedback I had on it. I decided to republish it now, with a few small tweaks. I hope it helps you in your day-to-day practice! ***   ***   *** So you’re learning a new piece and you’ve done as much slow and separate-hands work as you feel is penance enough – at least for today – and now you want to play the darned thing through up to speed and just enjoy. Sounds familiar? My first suggestion is go ahead and try that, see what happens. If you are consistently able to play accurately, fluently and comfortably then chances are you have indeed done enough groundwork. But if you find yourself stumbling, baulking, stiffening up or playing wrong notes, rhythms and fingerings then it would seem that the playing is not yet capable of being on autopilot and you still need the help of your brain! You need to dig the foundations still deeper and slow down while you process the information from the score. Call on your inner craftsman and take pleasure in the building process itself, knowing the playing will be stronger and more secure later on as a result. You will reap what you now sow. There are several practice tools I use as a bridge between the slow, painstaking work and the exhilaration of playing through at speed. I have written about these extensively in Volume 1 of my ebook series on The Practice Tools, but I would like to share one with you here that is extremely effective. I call it The Floating Fermata. The Floating Fermata When we listen to unprocessed playing, we […]

Change Your Technique by Changing Your Mind

This week’s guest blog post features an article on using mental practise techniques when learning new pieces by Ken Johansen. In this post, Ken uses an example from his From the Ground Up edition featuring Chopin’s Waltz in E minor (Op. Posth.) to illustrate how to use a rhythmic context to achieve evenness in passage work. *** *** *** Change Your Technique by Changing Your Mind We pianists tend to think of technique as a purely physical matter, a sort of gymnastics for the hands and arms. We imagine that if we develop the right muscles and make the right movements, the music will somehow come out right. But the way we move at the keyboard is deeply influenced by the way we think the music inwardly. It is therefore possible to make technical changes and improvements simply by hearing and thinking the music differently. In this way, a clearly imagined musical goal calls forth the technical means of achieving that goal. One of the technical challenges we work on most is evenness in passage work. We spend countless hours learning to play smooth, even scales, without unwanted accents at the changes of hand position. We work on the smooth passing of the thumb, the correct hand positions and arm angles, and so on, as indeed we must. But all this work will be in vain if we do not first hear inwardly what a smooth, flowing scale should sound like. This inward hearing is really a matter of rhythmic imagination. If we imagine a scale to be a series of equal, uniform notes, without nuance or direction, it will come out that way. If instead we give the scale a rhythmic context (two notes per beat, for example), then […]

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, […]

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. […]

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 […]

Learning New Pieces From the Ground Up

One of the most common questions my readers ask is how they can learn new pieces more effectively. As it turns out, one of the most popular posts of all time at www.practisingthepiano.com is “But It Takes Me Ages To Learn A New Piece!”. Therefore, I’m very pleased to announce the launch of a new series of resources on the Online Academy this week which directly addresses how to go about learning new pieces more efficiently – it’s called From the Ground Up. Building on a similar approach and principles covered in my series Deconstructing the Score, From the Ground Up is a series devoted to learning individual pieces using outlines and reduced scores that help you to practise more effectively, memorise more consciously, and interpret music more creatively. Each From the Ground Up edition starts with a reduced score or foundation which reveals the essential structure of the music. Detail is then added in layers through successive scores thus enabling learning a piece from the ground up rather than the top down. Authored by Ken Johansen, co-founder of the Read Ahead sight-reading programme and professor at the Peabody Institute of The Johns Hopkins University, the series will feature popular works from throughout the repertoire, starting with two works by Schumann and JS Bach respectively. Please click here to find out more about From the Ground Up on the Online Academy or on one of the following links to view the first two editions: Schumann – Von fremden Ländern und Menschen (from Kinderszenen) Bach – Little Prelude in F (from the Notebook for Wilhelm Friedrich Bach) Beethoven – Sonatina in G Grieg – Arietta (Lyric Pieces, Op. 12, No. 1) Chopin – Nocturne in E-Flat (Op. 9, No. 2) Schumann […]

Tackling a Programme

I had an interesting question from a reader in Australia, so this week I thought I would address the issue of how to learn a programme consisting of multiple pieces. Do keep your questions coming in, I will do my best to answer them. Q. I want to learn to play, say, two sonatas, or six difficult pieces, or (if have just started to play) three small “easy” pieces. How should I learn them? Say the sonatas have three movements each. Should I learn one movement at a time until I have it under my belt, and then go to the next, do the same, and afterwards go and learn the third? Once completed, do I then start the next sonata and learn it in the same way, or would it be more (or less) productive to start learning all six movements at the same time? A. The question is an excellent one as it shows how necessary it is to bring planning, organisation and time management skills into the practice room. Assuming I want to have all these pieces peak together, let’s work backwards from the end point. For example, if my recital or exam date is March 1st, I will need to aim to be fully prepared two weeks before that. Prior to that, I’ll need to arrange three run-throughs in front of different people (teacher, trusted friends, piano meet-up group, festival, etc.). The stages of our work will look approximately like this: Day of exam or recital. The week or so before: under-tempo run-throughs combined with spot practice and general maintenance (including some slow practice and using the memory tools). Marking (going over lightly) the programme, some visualisation, relaxation techniques if needed. Have […]

By |February 28th, 2014|Performing|8 Comments

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

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 […]