Expanding Your Repertoire with Quick Studies

In this week’s post, Ryan Morison discusses how quick studies can be used as an effective tool to broaden your repertoire and develop good habits and skills when learning new pieces.

Beethoven, Chopin, Grieg & Debussy

This week’s blog post features our most recent Practice Clinic in which Graham Fitch responds to questions submitted by Online academy subscribers. In this recording, Graham discusses topics such as legato playing, fingering, building speed and quarantining in works by Beethoven, Chopin, Grieg and Debussy.

Tips & Tools for Learning New Pieces

When learning a new piece from scratch, there are a number of tools we can use to get the maximum benefit from our practice time and to lay the foundations for a secure and successful performance.

A Free Online Course on Piano Practising!

With many of us confined to our homes due to current circumstances, it does potentially make for a great opportunity to make the most of the situation by practising the piano! However, the subject of how to practise effectively is rarely taught. Much practice is unfocused and unproductive (or worse, leads to bad habits that might be hard to break in future). To help you get the best results from your time spent practising, I’ve created a free two-week email course based on the videos from my Practice Tools video lecture series. Suitable for pianists of any level, it comprises ten lessons introducing various practice tools that will help you to: Structure your practice sessions and practise efficiently Learn new pieces faster and build more solid foundations Develop speed using a better approach then simply increasing the metronome with each repetition Improve the quality of your playing As one of our initiatives to provide useful and inspiring content during this time, we’re making this course available for free to anyone and no subscription to the Online Academy is required for participation. All you need to do in order to register is sign-up with your email address, and you will receive your first lesson on the 14th of April (or immediately upon sign-up thereafter). Please click here to sign-up and for further information and use the buttons below to share this course with anyone you think might be interested! It it my hope that this course will inspire you to practise well and give you the necessary motivation to keep this going until you have some momentum. Remember – it’s the quality of the practice that counts, not the quantity! (Tweet this quote) *** Further reading […]

Q-Spots Series: Bach Invention in D Minor

For my first piece in the Q-Spots Series I have chosen Bach’s Two-Part Invention in D minor, and identified two Q-spots that very often cause players to falter (click here for an introduction to the series). If you are a piano teacher you will immediately know that I am referring to the places where one hand has a long trill, and the other hand a passage of even semiquavers (16th notes): Bar 18 – Downbeat of 23 Bar 29 – Downbeat of bar 35 The idea behind Q-spots is to identify and isolate awkward places where we stumble and fumble, and go through a systematic sequence of practice activities that helps us break the section down into stages. We practise each stage until our inner quality control inspector is happy to sign it off, before moving on to the next stage. We repeat these stages for a few days in a row, by which time we should find the passage is not only possible but actually feels easy. Let’s look at the first Q-spot in the Bach Invention and analyse the nature of the difficulty. There are two main problems here – coordinating the two hands together at the required speed, and managing the trill without tightening up. Part of the solution is to play a rotary trill (from the forearm) rather than lifting the fingers from the main knuckle; for the trill to fit together with the left hand we will need to organise it rhythmically. Probably the neatest way of doing so is to play a measured trill in demisemiquavers (32nd notes), beginning on the upper auxiliary (D) and stopping on the main note on the last demisemiquaver before the tie. Before we […]

New Series on the Quarantine Spots

We’ve probably all come up against difficulties in a piece where our fingers seem to baulk – we hesitate, stumble, or approximate the notes with a mañana attitude to fixing them. Our unconscious thoughts go something like: “All I need is a few days, it’ll sort itself out eventually”, or “I’ll wait for my teacher to correct it in the lesson”, and so on. A chain is only as strong as its weakest link, and unless we address these problem passages thoroughly they are likely to let us down in performance. The Problem We all know that in a performance we commit to playing from the beginning of a piece to the end, with no stops or corrections. However, unless we are practising a non-stop run-through of a finished piece, we will likely need to stop regularly in our practice. And not only to make corrections, but to go through certain practice procedures that make our end result technically strong and secure. The Solution: Quarantining The concept of quarantining is firstly to identify as precisely as possible where the problem spots in our piece are, and why they might be occurring. We mark these quarantine spots (or Q-spots for short) in on our score, perhaps using a square bracket, and begin our practice session by doing some proper work on these spots using the practice tools, as opposed to just playing them through a few times. We could even devote a separate practice session to the Q-spots from all of our pieces. Rather than rummaging through our scores, it is a good plan to take photos of the bars in question and insert them into a slideshow. That way, we can practise from a tablet and […]

Online Academy – What’s Coming?

The Online Academy will soon be three years old and we have a number of exciting developments in the pipeline to celebrate this milestone. Following from our previous post which provided an overview of existing resources and content, this article will give you an idea of what you can look forward to from the Online Academy over the coming months. New content The Practice Tools – A detailed collection of resources building on Graham Fitch’s workshops and eBook series will be published as a complement to existing resources. These will include a course teaching the fundamentals of effective practising and a revised index of practice tools. Quarantine Spots Series – We will be launching a focussed series which takes one of the practice tools, Quarantining, and expands on it with demonstrations of how it can be used in context of challenging examples from popular works within the repertoire. Technique Library and Resources – A comprehensive library of resources focusing on improving technique and tackling technical challenges for all levels. This will include detailed demonstrations of various areas of techniques, guides to exercises and studies with contributions from current and new authors. Walk throughs – Our library of resources for the piano repertoire will continue to grow and will feature words by Chopin, Brahms, Beethoven, Mozart and Bach to name a few. Resources for examination syllabi will also be added on a continual basis. Burgmüller’s 25 Easy and Progressive Etudes – The final four walk throughs are currently in production and will be added to complete this comprehensive series shortly. Healthy Playing – Our set of resources on healthy playing by Penelope Roskell will be extended to include information on preventing and recovering from common pianist […]

By |September 12th, 2019|News|0 Comments

Zen In The Art Of Plate Spinning

I am sure we have all seen that circus act where the showman puts a few plates on some poles, sets them spinning and then adds more plates to more poles. He keeps on doing this until there is a bewildering array. He needs to keep returning to the original plates before they run out of spin, and the excitement of the act is wondering how he can possibly keep all this going with no breakages with just one pair of hands. Preparing a programme for recital or examination poses similar logistical problems. How do we ensure that all components of our programme peak together on the day, and how do we plan our day-to-day practising so we give enough attention to everything and neglect nothing? This takes some planning, as well as some know-how. Routine I’m a great believer in making lists, or rotas, but flexible ones that take into account the realities of life and also that leave room for spontaneity. Rigid schedules are impractical and demotivating, since they are impossible to stick to. However you plan your work, you will absolutely need to get into a routine. A regular routine helps us to frame our work so that the act of practising becomes a habit. Sure, this takes discipline, but nothing worth achieving is possible without steely determination and self-discipline. Therefore, it is extremely helpful to set aside a regular time during the day for practice. This gives us direction and impetus. Since no two people are the same, it is impossible to come up with an exact formula for the length of time needed, or the best format to organise our work. Some people work best in the morning, others later in the […]

There’s a Hole in my Bucket

Imagine a situation where you have to fetch water using a bucket. The problem is your bucket has a few holes in it, and on the journey from the well to your bathtub most of the water leaks away. You’ve got two choices – either make dozens of journeys before the tub is filled, or fix the bucket! Now imagine you are preparing a recital or examination programme, and there are holes in that. That part of your fugue where you know you haven’t organised a good enough fingering, those few bars on the third page of your Schumann that always seem to trip you up, and you’ve never quite sorted out the coda in the first movement of your Beethoven sonata. Of course, you will finally start practising your scales soon, it’s just that there never seems to be enough time to practise the pieces… How tempting it is, having become aware of these issues, to carry on playing with thoughts like: “Oh darn, that keeps happening. Still, let’s hope it will correct itself tomorrow”. This is rather like trying to enjoy a bicycle ride in the countryside aware you have a slow puncture or your saddle is loose. The Pareto Principle The Pareto Principle, or the 80-20 Rule, is named after Italian economist Vilfredo Pareto, who had a eureka moment when he made two unrelated observations. He noticed that during 1906, 80% of the land in Italy was owned by 20% of the population, and that 80% of the peas in his garden came from 20% of the pea pods! This principle is widely used in the fields of business- and time management, and is very useful to know about in relation to practising […]

Spring Cleaning a Repertoire Piece

Do you have a favourite piece you just love to play, but end up feeling disappointed that you’re just not doing the piece (or yourself) justice each time you drag it off the shelf? If you learned it thoroughly from the start, remember with anything we play we can’t just put a cork in the bottle and expect the genie to emerge fit and healthy after the passage of time. Some of the great pianists have described the process of relearning, restudying or resurrecting works that they may not have played for a while but there is no pianist worth his or her salt who does not labour in the practice room. Shura Cherkassky described his practising thus: I practise by the clock, for me this is the only way. Four hours a day. If I wasn’t absolutely rigid about the whole thing I’d go to pieces. You need iron discipline – sheer will power. So many great talents disappear about a short while because they get conceited and don’t work properly anymore. You have to work all the time. (From an interview with Stephen Hough, 1991) I would like to propose a challenge. Take a piece you would really like to get on top of, but have never felt totally comfortable with – probably something you have never really done the basic groundwork with. Decide on a timeframe that is meaningful and realistic to you and set aside a certain amount of time daily to attend to this task. It might be a week, it might be a month. You are about to undertake a commitment to a process, the end result of which will be palpable and well worth the effort. Before embarking on this, […]

By |February 14th, 2014|Practising|7 Comments