What I learned during practice today :

[landru]

What I learned:

I was tired of having problems learning the trio section of Schubert's Impromptu No. 4 D899. For those who don't know this piece - it is a bunch of soft chords with a melody played above by the 4-5 fingers of the right hand. But the main difficulty is that the harmony is just all over the place with C flats and B sharps and E sharps etc, going into weird harmonic places that your mother warned you about.

So I decided to write out the harmony above the bar so I at least had that as a cheat sheet for where my fingers could go. And I played it a lot better (not good of course, but better...). Lesson: For me at least, having the head knowing where the piece is harmonically, helps the hands!

[silverchair87]

I think it could provide great insight if people post about what they feel they learned in each practice day.  Like a practice journal, but online so others can read it and learn from it, too.  So, it's kinda like a community blog then, I suppose (what if we could each have a blog for a practice journal as part of our membership here ?  ).  I am striving to put aside my obssessive need for better organization than what this single thread will provide. 

Please join in !

I will start :

Today, one of the most interesting and influencial things I learned was that inaccuracies in what seems like hand and finger coordination, can actually be caused by having another region of one's body being "fixed" or tense.  I read something along the lines of this in Thomas Mark's "What every pianist needs to know about the body" and decided to train my thinking, with this in mind, as I was practicing.

So, as I was practicing a Rachmaninov prelude, Op 32 no 13, there was a jump and a chord-grab in my right hand that I was not able to get with consistency or great comfort.  I then decided to search my body with a kinesthetic sense to see if there was anywhere that was tense.  As it turned out, my left-hand lower back was tense.  So, I decided to relax those muscles and to my amazement, as soon as I did this and tried the movement once more, it was exactly as I would like it to be.  And I could repeat the movement over and over again (only 7 times  ) with the same success and confidence.

This opened up an entirely new avenue of thinking for me, which carried over into the rest of my practicing.

He mentioned that most pianists practice compensations -- in that they are practicing things that are necessary only because the quality of movement is poor.  This kind of hit home for me.



m1469

Sorry to go away back to the start, but you'd maybe be interested in finding out about Alexander Technique as well if you find this kind of practice useful. I've had a couple of sessions with an alexander teacher and found that each 1 is helpful in different ways. It concentrates on the body being in it's natural state, relieving tensions and stiffness to achieve a state of balance in the body, and it really does make a massive difference to ones playing.

Just a thought I had!

I haven't practiced yet today, as I've only been awake for 45 minutes, but yesterday I learned that I need to contribute more when performing with a singer. I sometimes switch off and let the singer do all the work, and play in as boring a way as you can imagine, but with the encouragement of said singer and my teacher I managed to pull my finger out and produced a very satisfying performance.

That is all for now

[go12_3]

Yesterday, I had an experience in the early evening.  I was in the mood to do some Hanon exercises, which I normally do each day.  But, this was a different practice.  My fingers seemed to go at a lightning speed from exercises 1 through 20 in around 15 minutes.  It was hardly any effort and I quite enjoyed running through those exercises.  I have come to realize that some days practicing is a delightful or a tedious experience on  the pieces I am working on and this week, for some reason, is a delightful one!   

best wishes,

go12_3

[m19834]

There is no "fast" or "slow" ... there are only expressions of musical ideas.  There is not "soft" or "loud" ... there are only expressions of musical ideas.  Etc.

[db05]

There is no "fast" or "slow" ... there are only expressions of musical ideas.  There is not "soft" or "loud" ... there are only expressions of musical ideas.  Etc.

Do you mean to say, that nothing exists but ideas?   

[mike_lang]

There is no "fast" or "slow" ... there are only expressions of musical ideas.  There is not "soft" or "loud" ... there are only expressions of musical ideas.  Etc.

Aren't fast and slow, soft and loud, etc., means by which to express musical ideas, however crude the terms may be?

Michael

[m19834]

Aren't fast and slow, soft and loud, etc., means by which to express musical ideas, however crude the terms may be?

Michael

No.  It may seem like it, but no. 

A true musical idea is a complete idea (living precisely in the moment), and the same idea cannot be expressed in options; either softly or loudly, or either slowly or fastly (etc.).  Soft vs. loud, slow vs. fast are not means by which to express a static musical idea, but rather an interwoven aspect of a complete, living musical idea. 

[m19834]

Sometimes what seems like a technical problem --when a passage seems unwilling to come together-- it is not a matter of more practice, but rather a matter of needing to musically regroup the notes to give it a better flow.  This alone can solve the problem.

[dr. j]

What I have learned in practice is that the more I play the better my day as a musician.  In fact, I've made it my motto for my students - "The More You Play the Better Your Day."  Of course - the more you focus while you play - the more quickly you improve as a pianist.

Dr. J

[Bob]

Cross-training is good.

You can never predict exactly how things will feel from day to day.  Not exactly.

You can't trust the way things feel or shouldn't become unmotivated because of them.  Sometimes, you can work through the difficulties.

[db05]

I haven't practiced for 3 days... I learned that my hands don't crave the piano but my mind does. I can play piano pieces in my head, sometimes involuntarily. But it is musical, it leads somewhere, has meaning. There are complete musical ideas. So what is the technique? What is wrong with my hands that they cannot follow?

[m19834]

Actively searching for some new view on the music, for some kind of pattern that wasn't before seen, for *something* new to know about the piece, is actually the very process of getting better at being a musician and pianist (and person).  At the moment when you found something new, you also just got better.  Practicing becomes a whole different animal at that point, as it becomes a matter of time for discovery, and strangely, even if every piece isn't visited each day (though my point here is not to promote that), the act of becoming a better musician by discovering something new will carry over into all areas of the practice in a general sense.

Off to find something new .

[m19834]

There are complete musical ideas.

Musical/Pianistic ideas are not 'complete' without including the technique to express it.  Lack of ability is not truly physical, but an incongruence or fuzzy spot in the original mental concept and musical image.  A player's ability to sit down at a piece of music and artistically record it, for example, with having only mentally practiced it is not because they have somehow overcome the need for the physical expression (what we call "technique"), but rather because the concept of the music is so clear to them that it naturally includes it.

[db05]

Perhaps musical ideas are different from pianistic ideas, and *insert instrument here* ideas. There are difficulties inherent in an instrument, and not necessarily the music. A certain piece can be easier and more suited on the violin than the piano, say.

But I am not sure if that is my concern right now. What I am concerned about is playing this instrument, which is my own body, that seems not to get it.

*sigh* (Am at a loss for words to express my frustration.)

[dr. j]

As with every good practice session, I was focused on the task at hand - which today was working on cadences.  Focusing on smaller "bites" helps me have successful practice sessions especially if my mind has been going in forty different directions when I sit down to practice.

Dr. J

[m19834]

The point of discipline is precision.

[m19834]

Being capable of playing a passage in retrograde motion can aid in the ability to play it as written.  Plus, it's super fun  .

[m19834]

Okay, this one is maybe pretty elementary, but it just clicked for me.  Pulse and rhythm envelope the music, but sound is not all that is tied to these.  We don't just play the right note at the right time, but we move at the right time and everything that we do can actually be calculated and choreographed in precision.  It is similar to developing a 'character' in an opera, where s/he has a very specific personality and history and future, and the more one knows about these things, actually the more freedom the actor develops within it.  First it must be learned to a "T" in that we must fully become the character, and then the character comes alive and lives in the moment.

I think there is a resistance to learning a piece of music *exactly* because "we" fear it will take our "artistry" out of the business.  I think though that artistry only comes after we learn it all to a "T" and we then become free from there.

If motions as well as "notes" are not both thought about and expressed in time, then there are moments that we are stepping out of the music, and the musical concept is therefore (perhaps subtly) disjunct.  One passage in one register of the piano, perfectly held by pulse and rhythm, then we have to move to another register with rests between phrases, and we think it's time to check out and get there sometime before the next passage begins.  NO !    Move in time, touch the notes to come at a specific time, then rest in being where you need to be and thinking about what comes next.  Yes, breathe .

[m19834]

I don't play and practice piano/music in order to be a pianist/musician, I practice the piano and study music in order to be myself.

[goldentone]

The point of discipline is precision.

 A quotable.

[go12_3]

Practicing in 15 minute segments with pieces that I play with both hands has been beneficial for me lately.  I work on the difficult pieces for 30 minutes slowly and with each note correctly---using the "hand memory" and being aware of each note I play.  Yesterday, I practiced 4 pieces in sections.   I do some sections each day until the pieces are more comfortable with both hands.  Now that the 3 Bach Prelude and Fugues that I have learned already, I can work on a couple of new Prelude and Fugues( I do love to play Bach, his music is exquisite!).  I only play for enjoyment so memorizing isn't required of me like in the days when I was a Piano Performance Major in college. 

best wishes,

go12_3   

[db05]

I don't play and practice piano/music in order to be a pianist/musician, I practice the piano and study music in order to be myself.

MMMMMMmmmmmmmmmmm. Mind candy.
Thank you, Karli. You have just saved my life.

[m19834]

In working with "complete choreography" with rhythm and timing, both in sound and in motion, I realize a deeper connection between those two in the concept and manifestation of aural texture.  And, while I have always known somewhere within me --sometimes more consciously than others-- that it is important to be conscious of the release of (each) notes, as well as the attack and duration, I have just realized the difference between listening for a note to last 2 beats vs. hearing and listening for the precise change in texture by its precise release on beat 3.

From here, I realize a broader aural scheme in listening for texture(s) with relation to tonal organization in time, and I can see even more clearly now, how the physical orientation with regard to tonal texture and temporal organization are inseparable.

Now I am further realizing that the idea of being consciously aware of and listening for the attack, duration and release of each note was too big of a job for me and I was not truly getting it done.  That is because I was thinking in terms of individual notes vs. aural textures, the latter being created by a combination of sounds and colors, including silence, and enveloping all of the individual tones at once as a complete idea.

[m19834]

Man, today was like climbing a mountain ... HEEEEeeeehhh... it was like dragging my feet, slog ... slog ... one in front of the other ... "must.  Keep.  Going."  Lots of mental battles today and a bit of mental and physical fatigue from yesterday.  Finally I pulled through though and got some stuff done.

I included a little bit of improv at one point today, which was nice since I haven't done that for a while now.  It's interesting to see and hear influences from the repertoire I am working on !

[m19834]

Today I remembered the piano poet, I remembered once talking with a particular individual about wanting to be a piano poet, and I think that today, I finally became aware of a musical rhyme .

[dr. j]

Once again I learned that repetitive practice without being focused is just wasting time.  Getting focused before starting that repetitive practice makes a BIG difference in the time it takes to learn a difficult passage!  Always learning!  Life is great when the end result is sharing a great piece of music.

Dr. J

[m19834]

I never regret the time and energy I spend in truly studying and learning my pieces/the piano, but I often regret the time and energy I spend not studying and learning my pieces/the piano.

[dr. j]

Exactly!  Well said!
Dr. J - "The More You Play the Better Your Day"

[m19834]

'Practicing' is the development of ideas.

[db05]

'Practicing' is the development of ideas.

I couldn't practice today... 

[m19834]

The point of mental practice is to clarify the mental image, to connect ideas, and to hard-wire the mental map, so as to have a clearly defined target at which to aim. 

[dr. j]

When I overcome a musical obstacle such as fingering in a difficult passage or a tricky rhythmic passage, I realize I've gained another bit of knowledge to use in teaching my students.

Dr. J - "the more you play the better your day."
https://www.playpianosongstoday.com

[db05]

I had my very first violin lesson today. I didn't try anything, so that I may be taught from scratch. It was painful and frustrating, but also exhilarating and inspiring. The time just went by without me noticing. I wish every lesson/ practice at every level would be like this. I had forgotten what it's like to hold an instrument for the first time, to play a note for the first time and hear it and feel it... Like a virgin, touched for the very first time... LOL

[Bob]

I wonder what that makes my piano then.  It's gotten a lot of use.  Mostly by me, but sometimes by others.  And I sometimes go and use other pianos too.  Or if there's a publicly available piano around...  Ah, the horror... Haha.

I was reminded in my practicing how much everything else in life affects practice results, ie not sleeping well last night.  I felt like a zombie and my fingers felt a bit klonky today.

[go12_3]

Ha ha, Bob,  you have the *klony* fingers today,  aww, tomorrow your fingers will get better.

I realize that while I practice, it is the joy of making wonderful sounds from my grand piano and my other instruments, violin and guitar.  So I have to make time to practice my instruments, but even if I play for 15 minutes, I make sure that each note counts and being focused.  Yes, of course, sleep is a needful for me in order to function while I'm practicing or my fingers will go *klony*  too!    

best wishes,
go12_3

[pianowolfi]

Today I remembered the piano poet, I remembered once talking with a particular individual about wanting to be a piano poet, and I think that today, I finally became aware of a musical rhyme .

Welcome back, piano poet

[m19834]

Welcome back, piano poet

Thanks .

[goodguy]

I learned that some times just sitting and studing the piece you are working on is just as or even more benifitcial as practicing at the piano.

[nanabush]

I can now play double 4ths with my right hand at a pretty decent speed; I was inspired by a piece I heard on youtube.

Very insane from 2:30-2:40 (and the rest of the piece)... that run of fourths in there is captivating, because it doesn't come up again and again in the piece. 

-----------------------

I also learned how to do some weird alternate strumming pattern on the guitar that comes up in a technique book I have... Whenever I heard the guitar teachers at my music place talk about how difficult piano is, then hearing them rip it up on the guitar, I rush home and try to learn something new on guitar.

[go12_3]

Today, while I was practicing Chopin's Etude 10/1, as I was working on the arpeggios, it's interesting that something would stand out , like a note or a group of notes and how they correlate with one another.  My focus was quite good today to notice such details of this piece, whereas, on some days, I just played the notes and nothing would stand out.  I love moments like these when a passage or a note just happens to make sense on where my fingers are going and to what purpose that must go.  Although, I wish there were more hours in the day for practicing.....

best wishes,

go12_3

[db05]

I had a lesson with my first guitar teacher today, and he's still meticulous as ever. But it was refreshing to be criticized for my sound than for my sight-reading or limited repertoire. He got me a new book for guitar, it goes from the very basics but covers a lot of styles and includes theory... Ironic as it may seem, he considers me an advanced student, and for this reason, he is bringing me back to basic. The arguments for slow practice and use of the metronome are compelling, although I'm at a loss to describe in my own words. It also makes sense to touch on different genres/ styles other than classical, and learn to harmonize with a band.

I am wondering if this approach would be beneficial for piano also. The pressure to expand solo piano repertoire is intense, though. My head is spinning because some people might argue that you can gain technique from difficult pieces, etc, and they think I already sound good, but it's not good enough in my opinion.

piano vs guitar
classical vs variety
solo vs group (band or classical chamber)
more technically difficult music vs solid foundation
more pieces vs less pieces but better sound............ etc.

Practicing is all about how far you can go, and how deep you can dive in there. That in itself is like a performance, and your interest and love for the music shows. I know I am interested, I am in love, but I don't know what is the right thing to do, or how long I can keep up with this. It's not always heaven; most often it is the hell of frustration.

[dr. j]

I learned again today that I really like exploring new repertoire!  It is challenging and exciting to discover the myriad of ways composers use those twelve little notes.

Dr. J - The More You Play the Better Your Day

[db05]

The lesson today taught me just one thing:
everything I do is WRONG.

[tds]

The lesson today taught me just one thing:
everything I do is WRONG.

i wouldve been glad to learn something like that. the hardest part is often to detect what has gone wrong. the more and the earlier you discover what has gone wrong, the better youd be.

[go12_3]

What I do *wrong* determines my progress in practicing.  But, I have to keep in mind that
music isn't about perfection and when I decided to learn a piece for enjoyment , then the
wrongs that comes along isn't such a big deal in my mind.  I am not a perfectionist, but I
have disciplined myself to focus and practice a little at time throughout the day. 
I think some musicians have to take their practicing seriously and all the wrongs they do, but
to me it's just a self-defeating factor that happens.  Attitude = aptitude. 

best wishes,

go12_3

[dr. j]

The lesson today taught me just one thing:
everything I do is WRONG.

Never is EVERYTHING you do WRONG.  Remember to ask yourself during each practice session - "what am I doing well?"  and build on those strengths. 

Dr. J - The More You Play The Better Your Day

[db05]

i wouldve been glad to learn something like that. the hardest part is often to detect what has gone wrong. the more and the earlier you discover what has gone wrong, the better youd be.

What I do *wrong* determines my progress in practicing.  But, I have to keep in mind that
music isn't about perfection and when I decided to learn a piece for enjoyment , then the
wrongs that comes along isn't such a big deal in my mind.

Never is EVERYTHING you do WRONG.  Remember to ask yourself during each practice session - "what am I doing well?"  and build on those strengths. 

This is a piece I had played for an exam and for recital, a "finished" piece. Now I have to forget and relearn all of it because of the fingering (I have small hands). I am not kidding when I say I did everything wrong. There is no passage where I got it all right.

It IS a big deal, it's like putting in the effort and going all the way with your girlfriend and breaking up all of a sudden, and losing contact. How am I supposed to forget a piece I've played a million times?!?!

[go12_3]

I know how it feels when the passages don't seem right.  In Debussy's Toccata, there are some passages that my brain and fingers won't learn....I can play it ever so slowly and it's hard to realize that I need to let this piece go for awhile and perhaps later this summer, I can return to learning it.  In fact, it is a piece I am relearning and I used to know it by heart and played it with memory.  It's a part of being human; the mental and emotions that goes on in my life is what makes practicing a different experience each day.  Some days, I can only grasp a part of a passage and that is all I can do.

best wishes,

go12_3

[m19834]

Physical coordination is a matter of mentally organizing one's focus and attention.

[m19834]

Fast playing is essentially a coordinated, mental race against the tempo and pulse.