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Could you elaborate on what in it helped change your practice approach? I tried reading it a while back and I couldn’t really get past the style. I’m sure there

Could you elaborate on what in it helped change your practice approach? I tried reading it a while back and I couldn’t really get past the style. I’m sure there is good advice in there, but it’s very off putting due to the rambling style.

cloogshicer 5y ago
The main takeaways for me were: - Do not try to practice the whole piece at once. Split it into pieces - Start by listening to the piece. If possible get multiple performances/recordings (usually easy with YouTube) to get a feel for different interpretations. - Take the piece and number each measure from 1 to finish. Figure out where the repetitions are, which measures are the easiest, which the hardest (this will differ for left and right hand usually), where key/timing changes happen - Practice both hands separately, start with a single measure that is one of the hardest (if need be you can split it up even more). Overlap the measures slightly so that you also practice the transitions. Play as slowly as you need to so that you can play expressively from the very beginning (albeit with only one hand). As you learn the measure, increase speed, but only so much that you can still play expressively. Switch hands once your hand gets tired. - Since one hand (usually the left hand) is often much easier to play in many measures or even entire pieces, it will get much less practice. To offset this, make sure to also practice the hardest measure for each hand first. Sometimes you might even need to practice the left hand from a different piece (if the current piece only has easy stuff), while the right hand is resting. - Keep practicing all the measures in the piece in this fashion (with one hand) until you can play them expressively even at higher speeds than the piece is usually played at. - Now is the time to put the hands together. Use the same method of practice as described above (splitting up the piece into overlapping measures, starting with the hardest one), only this time use both hands. There are other nuggets of wisdom in the book, for example: - How to properly practice playing chords - Very fast notes played in succession are really just "imperfectly played chords", where your hand is already in the position of playing the chord, except one or more fingers are slightly lower than the others as your hand goes down. Thinking of it this way, you're not trying to speed up individual notes, but "slow down" a chord.
- hilbert42 5y ago
  That's very good advice if one's well disciplined. The trouble is many of are not and it's why we need a good teacher to keep us on the straight-and-narrow. My teacher was forever nagging me to "play what's written, not my interpretation of it". She'd also tell me to "go home and practice the actual lesson", boring Czerny scales or such, "...and not muck around and waste time playing songbook stuff that I liked the sound of".
  - mtalantikite 5y ago
    Right now I’m working with a jazz/improvisation teacher and he has me play through a piece once strictly as it’s written, once again strictly but singing the melody, and then the third time through with improvisation on the melody. Sheet music is thrown away as soon as possible. Of course jazz compositions are much shorter than classical pieces, but I do think the premise of getting it down strictly and slowly opening it up is a great way to practice.
- ecdavis 5y ago
  > As you learn the measure, increase speed, but only so much that you can still play expressively. This summary omits one of the major themes of the book. Granted, the discussion of speed is quite nuanced. See 1.II.13: https://fundamentals-of-piano-practice.readthedocs.io/chapter1/ch1_procedures/II.13.html https://fundamentals-of-piano-practice.readthedocs.io/chapte... One relevant excerpt, though large chunks of the book are dedicated to this topic: > To vary the speed, first get up to some manageable “maximum speed” at which you can play accurately. Then go faster (using parallel sets, etc., if necessary), and take note of how the playing needs to be changed (don’t worry if you are not playing accurately at this point because you are not repeating it many times). Then use that motion and play at the previous “maximum accurate speed”. It should now be noticeably easier. Practice at this speed for a while, then try slower speeds to make sure that you are completely relaxed and absolutely accurate. Then repeat the whole procedure. In this way, you ratchet up the speed in manageable jumps and work on each needed skill separately.
- alfiedotwtf 5y ago
  > Do not try to practice the whole piece at once. Split it into pieces This has been my biggest ever piano hack. I now practice bar-by-bar and don't move on until I'm happy, and its taken my practice to a whole new level

cloogshicer 5y ago

The main takeaways for me were: - Do not try to practice the whole piece at once. Split it into pieces - Start by listening to the piece. If possible get multiple performances/recordings (usually easy with YouTube) to get a feel for different interpretations. - Take the piece and number each measure from 1 to finish. Figure out where the repetitions are, which measures are the easiest, which the hardest (this will differ for left and right hand usually), where key/timing changes happen - Practice both hands separately, start with a single measure that is one of the hardest (if need be you can split it up even more). Overlap the measures slightly so that you also practice the transitions. Play as slowly as you need to so that you can play expressively from the very beginning (albeit with only one hand). As you learn the measure, increase speed, but only so much that you can still play expressively. Switch hands once your hand gets tired. - Since one hand (usually the left hand) is often much easier to play in many measures or even entire pieces, it will get much less practice. To offset this, make sure to also practice the hardest measure for each hand first. Sometimes you might even need to practice the left hand from a different piece (if the current piece only has easy stuff), while the right hand is resting. - Keep practicing all the measures in the piece in this fashion (with one hand) until you can play them expressively even at higher speeds than the piece is usually played at. - Now is the time to put the hands together. Use the same method of practice as described above (splitting up the piece into overlapping measures, starting with the hardest one), only this time use both hands. There are other nuggets of wisdom in the book, for example: - How to properly practice playing chords - Very fast notes played in succession are really just "imperfectly played chords", where your hand is already in the position of playing the chord, except one or more fingers are slightly lower than the others as your hand goes down. Thinking of it this way, you're not trying to speed up individual notes, but "slow down" a chord.

hilbert42 5y ago
That's very good advice if one's well disciplined. The trouble is many of are not and it's why we need a good teacher to keep us on the straight-and-narrow. My teacher was forever nagging me to "play what's written, not my interpretation of it". She'd also tell me to "go home and practice the actual lesson", boring Czerny scales or such, "...and not muck around and waste time playing songbook stuff that I liked the sound of".
- mtalantikite 5y ago
  Right now I’m working with a jazz/improvisation teacher and he has me play through a piece once strictly as it’s written, once again strictly but singing the melody, and then the third time through with improvisation on the melody. Sheet music is thrown away as soon as possible. Of course jazz compositions are much shorter than classical pieces, but I do think the premise of getting it down strictly and slowly opening it up is a great way to practice.
ecdavis 5y ago
> As you learn the measure, increase speed, but only so much that you can still play expressively. This summary omits one of the major themes of the book. Granted, the discussion of speed is quite nuanced. See 1.II.13: https://fundamentals-of-piano-practice.readthedocs.io/chapter1/ch1_procedures/II.13.html https://fundamentals-of-piano-practice.readthedocs.io/chapte... One relevant excerpt, though large chunks of the book are dedicated to this topic: > To vary the speed, first get up to some manageable “maximum speed” at which you can play accurately. Then go faster (using parallel sets, etc., if necessary), and take note of how the playing needs to be changed (don’t worry if you are not playing accurately at this point because you are not repeating it many times). Then use that motion and play at the previous “maximum accurate speed”. It should now be noticeably easier. Practice at this speed for a while, then try slower speeds to make sure that you are completely relaxed and absolutely accurate. Then repeat the whole procedure. In this way, you ratchet up the speed in manageable jumps and work on each needed skill separately.
alfiedotwtf 5y ago
> Do not try to practice the whole piece at once. Split it into pieces This has been my biggest ever piano hack. I now practice bar-by-bar and don't move on until I'm happy, and its taken my practice to a whole new level