Effective Practive & Motivation
FAQ | recommended resources | piano: bare essentials | Effective Practice & Motivation
Below are some of the many different aspects involved in learning
how to practicethe piano effectively.
Environment | Goals | Musical
Form | Rhythm | Fingering |
Pedal | Posture
& Tension | Method | Motivation | Memory
METHODS OF PIANO PRACTICE
Singing
The act of singing various parts of the piece usually helps
students to hear the melody and/or harmony better. Singing also
facilitates the process of memorization.
Perhaps the most obvious place to start is to sing the melody
of the piece or a particular section of the piece. Singing the
bass line is usually more challenging for most students but
is it is well worth the effort.
At first, it usually makes most sense to sing and play the melody
and then to sing and play the bass line.
For more of a challenge, try to play both hands together and
sing one of the parts.
For an even greater challenge, try to play only one part and
sing a different part (great way to practice fugues).
Parallel Practice
Parallel Practice means taking two similar sections, or passages
within a section, and practicing them one
after the other to become more familiar with their similarities
and differences. Going back and forth between theses passages
will strengthen the understanding of each of them.
Backwards Chains
Backwards Chains may very well be the most dreaded form of practice
for many of my students.
However, most students will return the next week and sheepishly
admit that 'backwards chains' really help.
Decide on many different starting places within the piece or
section and number them starting at the end and working your
way towards the beginning. Working backwards, begin at the first
'starting place' closest to the end, and play to the end of
the piece (or the particular section). Once you have mastered
that, go to the second 'starting place' which occurs prior to
the one you just did and play from there to the end. Continue
to work your way backwards until you reach the beginning of
the piece (or section).
Being able to start at various places in the music helps the
performer to feel more secure with the finished product. This
also assures that the end of the piece will be as 'polished'
as the beginning!
Small Sections
It often helps to take a small section of music and review it
until it feels comfortable before going on to another section.
It is also a good idea to start a little before the section
and end a little after the
section to avoid having obvious seams later on. If you continue
to make mistakes, perhaps you are playing too quickly, the section
is too long, or you are not ready to be playing it both hands
together.
Improvisation and Transposition
Unfortunately, the study of music has become much more compartmentalized
than it was in the past.
Although today's jazz musicians improvise all the time, many
classically trained musicians
never have the opportunity to explore this medium.
As a classical musician, I am interested in using improvisation
as a valuable tool for self growth and exploration. In the right
environment, improvisation can be extremely fun and rewarding.
An ideal environment would be a place where the student feels
comfortable to experiment; safe from criticism.
Improvisation can also be used as a creative educational tool.
In addition to the satisfaction of creating one's own compositions,
students can develop a deeper appreciation of music by other
composers when they compare alternative ways a particular section
of music could have been written.
For beginning students, playing on the black keys is a great
way to start improvising because everything sounds good. If
you don't know where to start, try choosing adjectives or story
ideas and then create sounds using just the black notes that
you think represent these adjectives or stories. Don't worry
about whether or not it sounds good; just the act of creating
something can be rewarding and fun.
Students with some knowledge of theory and chord progressions
might want to try improvising on a chord progression which has
been extracted from one of their pieces. Perhaps you might prefer
to make up your own chord progression. A great way to get the
sound of a particular melodic line in your ear is to transpose
it into all the keys. Taking this idea a step further, as you
become comfortable improvising on a simple chord progression
you might want to try improvising on the same chord progression
in other keys.
Transposition is extremely helpful in developing the ear, however,
different keys will often require a change in fingering. Consequently,
transposition is most effective when it is applied during the
early stages of the learning process so that the student can
begin to focus on using consistent fingering as soon as possible
without interfering with kinesthetic memory functions.
Add-A-Note
For difficult runs, or passage work, try beginning with the
first note and add one note at a time so that each time you
play the passage you increase the length with an additional
note. This can also be done in reverse by starting with the
last note of the run and working backwards, each time adding
the preceding note. Make certain the fingering is consistent.
Variations in Rhythm and Articulation
Rhythm: try changing the rhythm of a difficult passage; use
a dotted-eighth, sixteenth rhythm or reverse it and try a sixteenth,
dotted-eigth rhythm.
Articulation: Try playing staccato passages legato or vice versa.