practice tools

A Tool for Memory Work: Tracking

Memorising a piece takes plenty of time and energy, and requires a strategy more sophisticated than simply closing the score after several weeks of reading it. Some memory work is like buying insurance – you hope you’ll never actually need it! While some pianists memorise easily, others struggle with it and never really feel confident. We’ve all been in that horrible situation where for the life of us we can’t remember what comes next, even though we know we know the piece inside out and backwards. I have written in depth about memorisation – have a look at The Analytic Memory and Tools for Memorisation. Here is a tool for when you have done a certain amount of groundwork memorising a piece, but you want something extra to strengthen and test your memory – I call it tracking. You can use it for any piece, long or short and I guarantee it will work a treat. Mark the Score If you don’t want to mark up your original score, make a copy for the purposes of this exercise. Divide the piece up into meaningful units that you’re going to number like tracks on a CD. The tracks can be as long or as short as you want, but the unit you choose should at least be a phrase. You might prefer a longer section, but here short is good! I have divided up Chopin’s Nocturne in B, op. 32, no. 1 into 12 tracks in all. The score will end up looking something like this (I am showing page 1 only): Practice Suggestions With the marked score away from the piano (preferably over the other side of the room but certainly out of sight), here are some suggestions for […]

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

How often we piano teachers hear this comment! “Sorry, I haven’t done as much practice as I would like this week.” It has to rank with the exclamation “But I can play it perfectly well at home” as one of the perennials. I always smile inside when I hear this, because it is intended well and actually we’ve all been there. Learning a piece is a process, rather like an investment. It might take several weeks where you don’t feel much progress then suddenly something changes and it feels like the penny has dropped. It is easy to get frustrated and demotivated during the gestation period. I always remind students that not every lesson has to be a performance – during this stage there is much more value in chipping away at the piece together, side by side, rather than attempting to play it through. Wouldn’t it be great if our results at the piano were in direct proportion to the amount of time spent? If practising were an exact science and we were machines, perhaps we could guarantee the perfect performance. I wonder how often any of us can walk onto the concert platform or into the examination room feeling totally confident that we have done enough practice, that we have covered all our bases. There is always that nagging feeling we could have done more – all we need is a few more days and we’d be fine. Time always seems to be at a premium. There are so many demands on our time, and there never seem to be enough hours in the day to fit in as much practice as we want. I can say this, though, without any doubt: if we […]

Transposing the Difficult Spot

Vocal accompanists and repetiteurs need to develop the skills to transpose virtually at sight in order to accommodate the different voice types and the vocal ranges of the singers they work with, but transposition is also a valuable practice tool for the solo pianist. We can use transposition to build and test the aural and analytic memory for those pieces we need to memorise, and we can also use it for refining motor control and coordination in difficult passages. I explore both these areas thoroughly in Chapter 7 from Volume 3 of my ebook series, but I wanted to give an example of the benefits of transposing from a lesson I gave this week on Bach’s Italian Concerto. Having taught this piece dozens of times over the years, it comes as no surprise that I might have to help a student with the following bars (I have added my own performance suggestions, please excuse the absence of treble and bass clefs): This snippet occurs in three different guises in the first movement – the first time ending on the tonic, the second time on the dominant and the last time on the subdominant. Apart from a tied RH thumb and a modified LH in the last example, the notes and fingerings are the same. The RH seems to trip people up until its contents have been digested and the fingers organised, so how do we do this? Since Bach has been meticulous in showing the parts, we can at least do him the service of practising it thus. I especially like omitting the thumb and practising the upper two parts alone but playing the other combinations is valuable too. If we really want to take […]

The Practice Tools – Volume 3

I would like to thank you for your support with my ebook series – I am very pleased with the uptake and have had lots of great feedback. It is good to know that the publication is assisting you in your practice! The beta launch period is now over, we have done some minor edits and updates to the publications, and all existing customers will be upgraded automatically to the new versions. The full version of Part 1 is now available at £9.99 for all three volumes. Volume 3 will be available for £2.99 until May 31 as a special offer to existing customers. Please note that you do not need a PayPal account to purchase the publications, simply click on “buy as guest” to use your debit or credit card to make a purchase via the secure gateway. For further information on how the publications work and what devices are supported, please see the FAQ on the Informance website.

Getting Students to Use the Practice Tools: Separately

The brain is made up of two hemispheres, right and left. The right hemisphere controls the left side of the body, and vice versa. There is a bridge between the two hemispheres, a thick bundle of cables called the corpus callosum, which connects the left with the right and enables communication between the two. Scientists have discovered the corpus callosum is actually larger and more developed in musicians, and that playing a musical instrument improves skill in other areas of life, such as maths. When we play one hand of a piece of music written for two hands, we are obviously only getting half the story. While the whole is bound to be greater than the sum of its parts (eventually), we will need to start off by attending to the parts by learning each hand separately. By practising one hand by itself, we enable the hemisphere of the brain that controls it to absorb fully the movements that hand has to make. The more we consciously practise these movements, the more skillful we become as our brain processes the sensory information. The absolute necessity to know each hand by itself seems so obvious and so basic, doesn’t it? Yet in my adjudicating work I can always hear when someone has not done this or who has done it briefly and half-heartedly – the end result is sloppy, inaccurate and unreliable. So often, successful piano practice comes down to delaying gratification (the satisfaction we get from the complete sound picture and the visceral enjoyment of playing) and instead digging foundations deep enough so that our playing really can be rock solid. How frustrating and dispiriting to be able to play something rather well one day […]

By |February 16th, 2013|Teaching|0 Comments

Getting Students to Use the Practice Tools (2)

Last week, I discussed how we might encourage our younger students to use the practice tools by incorporating elements of practice into the lesson, so that each week we devote a part of the lesson to checking and supervising what we want to be happening at home. I guess this would be the equivalent of an apprentice in an atelier who polishes and displays the tools of his craft for the master to inspect. There would be enormous pride not only in the product, but the very tools themselves and the proper use of them. We all know that tonal control is a hallmark of excellent piano playing. By this, I mean a full dynamic range as well as a sense of balance between the hands and (later) within the hand. There is no reason why we can’t introduce this concept, and also the skills involved, from the very beginning. Youngsters love a challenge if it is presented playfully, demonstrated well and they can see the value in it. The elementary player often struggles to do one thing in one hand and a different thing in the other hand, such as projecting a RH melody line and playing the accompaniment in the LH softer. Before we can expect them to do this, we need to help them develop the necessary independence between the hands. Games are a good starting point – you can get them to pat their head with one hand while rubbing their stomach with the other, or draw a circle and a square simultaneously. At the piano, we might use a basic five-finger position. I prefer Chopin’s whole-tone position (E-F#-G#-A#-B#) but any position will do. Both hands play in similar motion up […]

By |February 10th, 2013|Teaching|1 Comment

Getting Students To Use The Practice Tools

Following the launch of my ebook series last week, I had an email from a reader who tells me she is enjoying reading about the practice tools. She is excited to start using them herself, but is a bit dubious that she is going to get her students to practise like this. This seems like an excellent point, and one I thought I would address here today. I’ll start by sharing a personal story about my gardening skills – or rather total lack of them. I once had a property with a beautiful garden, designed and laid out by its previous owner with great love and attention to detail. Along with the house came a shed full of garden implements – shears, secateurs, and other gizmos – everything you would ever need. One bright Sunday morning, I decided to do a spot of gardening and got all these things out from the shed. I stood there scratching my head, uncertain as to what needed to be lopped from where, where I needed to dig, what was a weed – it all looked fine to me. So, I promptly put the tools back in the shed and called in the professionals, who looked after the plot beautifully from then on. This showed me there’s no point having tools unless you know how to use them, when to use them, and for what. Probably the single most important and most basic practice tool is the feedback loop. It helps us diagnose what’s good or bad, weak or strong so we can attempt to correct or improve it. This applies universally from beginners to advanced to professionals. It is perfectly possible to get a beginner to use the […]

By |February 3rd, 2013|Teaching|4 Comments

Top Ten Tips to Maximise your Practising

I have had a lot of requests for this article, which first appeared in Pianist Magazine last year. Here it is! With the Olympics very much in the news at the moment, I think of the time and energy the athletes have to commit to each day in their training regimes. We pianists have to train also – countless hours of dedication. We had better know what we are doing, though! Here are a few tips, in no particular order, that will help you get the most out of your practice time. A Teacher. Find a qualified, professional piano teacher to help and support you. Use professional bodies such as EPTA or the Incorporated Society of Musicians to locate teachers in your area. There are teachers who specialise in teaching children, others who have more experience with adults. If you are an adult beginner, or a restarter, your teacher will appreciate the courage it takes to come for lessons. Commitment. Keep to a regular daily practice schedule come what may, even if you are tired or don’t feel like practising. It is the commitment and the regularity that matter, not the amount of time you spend. “Little and often” will help you achieve FAR more than overdoing it one day, and then doing nothing for the next few days. You might find it more convenient to put a little time in at the beginning of the day, and again later – whatever works for you. Organisation. Divide up what you have to do into compartments, such as scales and technical work, pieces, sight reading, etc. You may find it helpful to keep a practice diary, and a scale chart is also a good idea. Concentration […]

Using The Feedback Loop

Have you ever sat at the piano in your practice time, not feeling really sure about what you are supposed to be doing? Your mind wanders, you end up doodling or doing something half-heartedly and with no real purpose, then you get disillusioned and start looking at the clock? When I was a student at the RCM all those eons ago, a classmate confessed that he was never quite sure how he was supposed to practise. He started at the beginning of his piece hoping he would make a mistake so it would give him something to correct. He’d then correct it and continue until the next slip. And so on, until he got to the end. OUCH! If I might step in here and suggest a better way? This will work no matter what school of piano playing you come from – it is called the FEEDBACK LOOP. Using the feedback loop in day-to-day practising is a highly efficient way to maximise time and productivity. It forces the mind to concentrate on the activity at hand, and encourages critical listening and critical thinking. You will also discover and develop your inner teacher – it is probably the single most powerful tool we can draw on. BOX A The feedback loop is essentially a three-part process. The first part, represented by BOX A, involves a conscious decision as to WHAT you are going to practise, as well as HOW and WHY. Here are a few examples: I am going to play the first bar, ending on the down beat of bar 2. I will do this very slowly, listening for complete evenness and aiming for a feeling of full control over my fingers. I will […]

A Sound Investment

In a recent post, I suggested that performing (or playing through), can be compared to spending, whereas practising has its parallels with investing. Successful people in the business world will have struck a healthy balance between the two: too much of one and not enough of the other is a formula that can’t work, either way round. The pianist will constantly need to be juggling the act of playing through pieces (either to themselves or an audience) with practising, using the tools and processes I have been outlining in this blog. The trial by fire comes when you remove yourself from your cosy practice room and play for others. I have probably told this anecdote before, about one of Neuhaus’ students who, after an unsatisfactory performance in a lesson, declared it had gone perfectly well at home. “Well, my dear, then I suggest you go home and play it” was his retort. The romantic idea that concert pianists don’t have to practise, that the muse is forever on tap, is of course complete twaddle. Artists at the peak of their profession will have dedicated their lives to this activity and will have made numerous extremely costly sacrifices. Regular and routine practising is an absolute, a priority above all others. And the job will occupy their waking hours as much as that of any top executive. I am often asked how much time should be spent practising, and while this is a question that does need to be addressed, it is often not possible to say specifically. It depends SO much on the individual – their concentration span, what they are working towards, and their powers of organisation. One can spend hours at the piano and […]