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Good Practice

“Good practice is the purposeful repetition of accuracy.”

We began lessons this year having a look at that statement, and it certainly says a lot! It comes from a clever comic book series called The Art Of Piano Performance which is published by the Neil A. Kjos Music Company. The comics are appealing to everyone from pre-teenagers to adults. The issue Perfect Practice is written by Peter Coraggio and illustrated by Jon J. Murakami. It is loaded with useful information pertaining to the achievement of successful piano performance, and it gives a scientific yet common-sense description of how the memory works while playing piano.

In the words of the author:

“Effective practice consists of first partitioning a composition into workable sections, determining fingering which feels natural for the intended musical expression, refining each unit through reinforcement and repetition while carefully observing all of the composer’s directions, reassembling component parts into a completed work, and finally, preparing properly for confident public performance which results in audience satisfaction and a sense of personal achievement.”

I challenged each of my students at the beginning of the year to come up with five ways they could ensure that their own practising was, in fact, a repetition of accuracy. Here are some of the highlights from that compiled list.

1. Have an environment free from distractions of TV, telephone, text messages, brothers, etc.

2. Make fingering choices a priority when first learning a piece and stick to those choices.

3. Scan the music before you play to find passages that might be challenging. Work on those first sections first.

4. If rhythm is the challenge, prepare it first by tapping the part(s).

5. Work on small sections at at time. Drill difficult runs with attention to fingering and patterns.

6. Notice dynamics when first learning a new piece and include them from the onset.

7. If the key signature is challenging, first practice scales and triads to get the patterns in your fingers and in your head.

8. Take a few seconds to relax before and after a difficult section. You will then associate that section with relaxation.

9. Plan the hand position — the shape of your fingers as they approach the keys as well as how the hand needs to move from one position to another.

10. Don’t assume that because it was good yesterday that it will perfect today. You still have to think and be careful.

And the most common response from all my students was this: Practise slowly.

Reading The Art Of Piano Performance: Perfect Practice is a fun way to learn about the challenges of piano playing, the way the mind works to learn those new skills, and the benefits and joys that are so rewarding for pianists of all ages.

Introducing “Self-Serve Theory”

This is an area of the website where students and teachers can get new ideas on how to approach topics in Music Theory. By no means is this intended to replace your current method of studying theory? It is, rather, a place to have a new way of looking at things.

Many of the concepts here come from what I call seeing (and hearing) things from the “pianist’s brain”. At times, too, I may refer to the “singer’s brain” or the “wind player’s brain”, etc. — each one interpreting musical symbols in a slightly different way.

I hope you enjoy my unique approach to Music Theory.

Too Early Use of Damper Pedal?

Lately I have been questioning the use of the damper pedal in beginner books. In most cases, the student is taught to push the pedal down and leave it down for the duration of the piece. Yes, it does create a nice tone colour, and (if the correct notes are played!) the piece can sound rich and full. What concerns me is that when the time comes for a student to use the pedal appropriately, many students refer back to this first experience, push the pedal down, and leave it down for the whole piece.

I think it might be better to forego those early pedal experiments and save learning the pedal for a time when it will be done having appropriate attention put to the timing of pedal changes.

Five Ways Of Learning Music

It is not surprising that some piano students learn better by ear and some by sight. What surprises me after a few years of teaching my students is the wide range of ability of ear vs. sight even though I had given each of my students what I thought was the same “diet” of repertoire and exercises.

I think the concern here is that I had settled into what I call my “default” mode of teaching: always having the printed score open for a student while he/she is learning a new piece, and periodically demonstrating passages (or the whole thing) when I felt that would provide the most direct form of guidance. The students who were naturally better “ear” learners clung to those demonstrations and remembered them surprisingly well. My “sight” students would appreciate any help I would give to outline patterns in the score, to help with analysis of form or harmony… in short, anything to help make sense of those little black dots. What I didn’t realize is that some of my students probably tuned-out the information that didn’t fit with their natural learning style.

In an attempt to develop a full spectrum of skills, I came up with these “Five Ways Of Learning Music”. It is my intension that, if I have my students work on one piece of repertoire for each of the five different methods, then I can prevent the syndrome of only playing by ear or only by sight.

I don’t know who coined this expression, but I do love the meaning. It is our goal as piano teachers to have our students “see with their ears and hear with their eyes”. I think that would make for the most well-rounded musician.