RAAGH! Calling all veteran readers of "Fundamentals of Piano Practice"!

[alcatus]

Hmm... where to start? Oh yes. 

So, from what I have read in Chang's book, this is how the gearbox operates:

The task in acquiring technique is to condition the hand to play the desired difficult parallel set in best way possible, relaxed, with a good keystroke, and fast.
Lets say that the parallel set in this case is a 12345 (CDEFG) of the RH, played like a scale. I am having trouble playing it fast and under control.
I must now find out WHAT is making it so difficult to play. So, I will now divide this whole 5 finger parallel set into even smaller parallel sets, and diagnose them. Aha! I seem to have no trouble playing the 123 (CDE) parallel set fast and under control, so I will just leave it alone.
However, the 345 (EFG) parallel set feels quite difficult. Maybe I will try dividing the 345 parallel set into even smaller ones. Okay, I have found out that I am having trouble playing 45 (FG), so I might as well start conditioning it for fast but relaxed and comfortable play.

The whole conditioning is done by performing repetitions. These repetitions should be done at the fastest possible speed in which you can STILL play comfortably, with conscious relaxation and with economical hand motions. According to Chang, somewhere around 100 repetitions should be enough to make the use of these "good" motions habitual or automatic. During this conditioning, you must consciously apply these "good" motions on every single repetition. Thus, the next time you play, your hand will automatically most likely play the way you previously had played the most, in this case, the "good" way.

I am not going to rewrite Chang's book on this thread because I already assume that you are familiar with it. So, lets skip ahead just enough so that I have just finished perfecting the whole 12345 parallel set. I have no trouble playing the 2, 3, 4 and 5 note parallel sets. I am able to play it very fast and I do not have to consciously pay attention on the economical hand motions because they are already automatic.
However, because my hands are currently conditioned to play the 12345 parallel set perfectly does not mean that they will play it that way forever. The hand can easily adapt to other ways to play the same parallel set, usually the incorrect ways. By the incorrect ways I mean stressfully and without complete control.
This is precisely why slow play is absolutely necessary for erasing any possible conditioning to play the incorrect way. Of course, if I always pay attention to the economical hand motions and relaxation whenever I play the 12345 parallel set, it will never be conditioned for incorrect, stressful play.
The problem is that, when it is time to make music with the 12345 parallel set (I assume it is used in a certain musical phrase), I won't and should not pay attention to the correct motions and stuff like that because that would result in a 'mechanical' performance.
When I am making music, I must concentrate completely on making music and not on the technique. So, after the performance, I should play the parallel set and, in fact, the whole piece slowly in order to erase the bad conditioning and to actually condition it AGAIN for economical play.


Is the above true? Am I missing something important? Please, discuss. 

[emmdoubleew]

I don't really get Chang's point most of the time. He takes these really obvious ways to practice piano and calls them "revolutionary," so I always feel like I'm missing something.

Is your posts what Chang wrote? Sounds good to me.

Really he could have written his whole book in 10 pages, that entire passage pretty much sums up to:
Practice your penta-scale, break it down to master it, then when you play repertoire you can forget about the technical aspect and concentrate on the music.

Is this true or am I confused again?

EDIT:  reading my post again it seems i'm a little harsh on Chang's work. It's still excellent and I respect and am grateful towards him for completing such a work, I just have some qualms with it.

[steve jones]

I think there is a little bit more to it than that. From what I can gather, he draws upon the scientific literature (as a scientist himself) to describe the most 'no nonsense' method of piano practice possible. This appeals to me, and I have had successful following his method.

The parallel set idea is interesting as it is the exact opposite to what most teachers prescribe (in my experience at least). You've read the text, so you know how it goes, but essentially is involves beginning at infinite speed and slowing down. I think that this is ingrains a technique involving a complete motion, whereas the 'start slow then speed up' theory would probably not. Atleast, when I play slowly I tend to use more finger movement than anything else, and this is not what seems to be required for speed playing.

Anyway, I may be wrong, but Im sure CC himself would be happy to discuss this with you if you drop him an email. 

SJ

[shoshin]

I liked his book. It was really fun and enjoyable to read. I'd suggest not dwelling on the details that you dont agree with and just read it through.  Nobody is 100% correct in ANY book. That doesn't mean there aren't some other things you could learn in it.

[tac-tics]

I don't really get Chang's point most of the time.

Yeah. While he does have some good points in his book (especially on memorization), there are some questionable points as well. The one that always comes to mind is how playing a chord is the same as playing those notes infinitely fast.... because that's really not accurate.

Read it and take from it what you can, but reading alone won't grant you any extraordinary ability to play.

[deanslist]

I got a lot from Chang's book. I need to reread it, though, to get even more from it. There is quite a bit to digest.

What I take from the parallel sets (which I have not worked through yet) is this idea: When the parallel set exercises are mastered, the economical motions have become reflexive and shouldn't require much effort when used in music. In reality, I expect to master the exercises and gain considerable technique. I will know how it feels to do it right. Then I will start learning a piece that will somehow throw a wrench in it. The benefit now, is that I know how to break down the tricky bits and I know the sensation that I seek to achieve.  The concept of practicing fast and then slowing down really has helped my technique. It just seems to come out of nowhere. Of course, I still struggle with the rest - joining sections smoothly and not letting my mistakes stop me. So much to learn...

[emmdoubleew]

Yeah. While he does have some good points in his book (especially on memorization), there are some questionable points as well. The one that always comes to mind is how playing a chord is the same as playing those notes infinitely fast.... because that's really not accurate.

Read it and take from it what you can, but reading alone won't grant you any extraordinary ability to play.

Lol, the funniest part is how he calculates how his method is 1000 times better using math 

[ed_thomas]

I'm not very far into the book yet, but can already see improvements as I try to implement it.  I think Chang's claim is the rate of improvement from the worst habits.  If you had the benefit of good teachers and intelligent practice throughout your learning experience, then any improvements this book has to offer would be some insights and possibly some modest incremental benefits.

I can vouch for the accuracy of his claims pertaining to the normal isolated education most of us get in chop shops by hacks.  A steady succession of bad teachers will sure wear you down... and there's no way to know it's anything other than "lack of talent" on your own part.