piano pedagogy

More Thoughts on Slow Practising

I am convinced it is not possible to say too much about slow practising or to overemphasise its importance. Here are one or two random thoughts on the subject, which supplement what I have previously written. Slow practising basically expands the time distance between one note and the next, allowing us plenty of time to prepare ahead (the hand position, the precise sound we want, etc.) as well as evaluate our results immediately after. As I am always saying, we need to aim to evaluate these results in as precise terms as possible, so that we can have a definite goal if we need to repeat. SLOW YET FAST So often in slow practice it is the tempo that is slow but everything else is fast – the key speed, the recovery at the bottom of the key (the lightning-fast physical response to the key bed when effort instantly ceases, and is released), movements across the keyboard, preparation of hand positions and large leaps, and so on. We can often only think about these things and make sure they have really happened when the tempo is slow. In a scale passage where the thumb needs to pass under the hand, we can prepare the movement fast, and immediately the thumb releases its first note. We might think of the next finger as operating the starting pistol, and the thumb the athlete on the block raring to go. (Of course if the interval is a large one, we wouldn’t want to cause tension in the hand by attempting to stretch too far, and there are many occasions in piano playing where thumb preparation is not a good thing.) HELPING YOUNGSTERS TO PRACTISE SLOWLY It may seem […]

Practice v Performance

A colleague put this quotation up on his Facebook wall this week, and while these golden words are from one of the greatest violinists of the last century, they apply absolutely to us pianists. Practice like it means everything in the world to you. Perform like you don’t give a damn. (Jascha Heifetz) I am convinced we use different parts of our brains for practising and for performance, they are two quite different activities. In performance we need a feeling of abandon and spontaneity, of creativity and going with the punches (more of what is known as right-brained activity), whereas practising relies on thoughtful, analytic procedures where we are constantly evaluating, repeating and refining our results (left-brained activity). In performance, we need to leave our inner critic in the green room and go into another, “thoughtless” state of mind once we are on the stage. We probably all know an excellent pianist who is not able to make the transition from the one state of mind to the other, and while they may play wonderfully, they can’t put themselves through the torment of public performance. Letting go of our critic is easier for some than others, and the ability to do this (allied with natural talent and a capacity for hard work, obviously) is what makes a good performer. Some relish the act of showmanship – performance with all its theatre – but others shrink from it, seemingly unable to get out of their own way. When I was a student, I experienced two opposite states of mind in a lesson, the careful practiser and the carefree performer. Anxious to show my professor how much I had practised that week and how well I had […]

On Passagework

There are innumerable examples in the piano repertoire of what is commonly known as “passagework”, a string of fast notes that lasts either a few bars, a whole section, or an entire piece. The function of this passagework may be decoratively melodic (rather like the singer’s coloratura), but is most often associated with bravura display. Even though I don’t really like the term, let’s stick with it as we all know what we mean by it. It is hardest to bring off at either extreme of the dynamic spectrum, loud or soft, but I think the difficulties are compounded by the sameness of the rhythmic value. If the passage were interspersed with slower or faster note values, this would act as terrain in an otherwise flatter landscape. Extended passages played fast and loud, or fast and soft, demand considerable control. I think immediately of two opposite examples from Chopin, the finale of the Funeral March Sonata (fast and soft, the difficulties compounded a hundredfold because both hands are in unison for the entire movement): and the Prelude in B flat minor (the right hand would be hard enough, but Chopin adds insult to injury with the left hand leaps): As a guiding principle, the finger plays from the surface of the key and releases to the surface (and not a squilimeter higher). The exception to this is martellato or when the passage (or elements of it) is controlled by forearm rotation. While the end result is that the fingers should be extremely close to the keys – in contact with the key surface – the practising dictates that we might regularly and deliberately use a raised finger. In the central nervous system, reciprocal relations exist between […]

By |November 27th, 2011|Practising|3 Comments

Green Fingers

Over the past few weeks in my teaching, I have found myself repeating what I consider a truism about practising, so I thought it might be worth writing about. Not only will I get it off my chest, but I will also be able to direct students here, thereby freeing up lesson time for other activities. It is simply this: The various practice tools we use for learning a piece in the first place need to be repeated very regularly in the early stages of learning, and are often the same tools we need to use on an ongoing basis for maintenance and upkeep. Slow practice is a good example of this. There are some instances where a word of instruction can cause the playing to change immediately, but there are plenty of other occasions when we need to go into training to achieve a certain intended result. This is rather like a course of medication, one pill will probably not make that much difference – it is the cumulative effect of the whole course that counts. I also think of the parallel with an activity like Olympic hammer throwing, where the act of throwing the hammer itself is over in a flash but the training regime is all-encompassing, involving other activities than just throwing the hammer. I know this not from any personal prowess in this direction, but because the PE teacher at my old school went on to achieve fame doing this and we all got a sense of what was involved. Another analogy is that of a gardener. If I am planning a new garden, I will first need to have a vision of how I want the thing to look when […]

By |November 20th, 2011|Teaching|0 Comments