How to practice aim?

[Shagdac]

Can anyone offer suggestions on how one can perfect their aim, when playing music which makes it difficult to actually see where you land on the keyboard at all times.  I hope I can explain this right....I've working on the Banjo for a short time, and while for the most part it is a very simple piece, on the 4th page, measures 63, 64 and first counts in measure 65, the right hand plays 6 chords moving from  almost 3 octaves (approx) above middle C with the highest top note being A# almost 4 octaves. At the same time the left hand is playing octave intervals and chords with the lowest note being F#, not quite 3 octaves below middle C......okay?
So you hit the chords with right and left hands together, far apart then they jump back into range, where they both are within relatively close distance to Middle C....then it jumps back out again.....this pattern continues for a total of 3 times, out in, out in, out in....,
1&2&1&.....my problem is, the chords themselves are not hard, but when each hand is far out, I am unable to see the notes, even out of peripheral vision. I have tried the obvious...lots and lots and lots of slow, repetitive practice, right hand only, left hand only, then together....even using Bernhards sequencing technique, and can do it, but the metranome setting for this is around 178-180, and I can't seem to get it up to speed with accuracy. I can play other pieces with my eyes shut, but I don't think I've ever had a piece where my hands have been so far apart... then together, several times and had to move so rapidly....Does anyone have ANY suggestions on what technique or exercise can help me with this?  I have tried doing this over and over so my hands have memorized where to go, as they do on other songs, but for some reason this has given me more difficulty....funny, but these darn 2 measures are all I'm lacking....and it is repeated several times throughout the piece. And yes, there is an easier version printed above, but I want to play as written. I appreciate your help!

Shag

[bernhard]

OK. I am not familiar with this piece, and I do not have a score in front of me. But the problem is a general one. So I will give you a general suggestion that you may be able to apply (modify it if necessary) to your specific problem.

1.      Yes, it is impossible to look at both hands at the same time in this case.

So, if you must look at one of the hands, look at the left hand.

Why?

Now this may blow your mind! The right side of the body is controlled by the left hemisphere of the brain which specialises in (amongst other things) verbal communication and sound. So you will be able to find your bearings on the right hand by sound. That is, your geographical orientation for the right hand will be basically by ear.

The left side of your body on the other hand is controlled by the right hemisphere fo the brain which especialises in visual information. So you must get your geographical orientation for the left hand by sight.

This has other interesting consequences: When learning hands separate, it is very effective to tell yourself (verbally) the names of the notes for the right hand, while it is far more effective to visualise the keys you have to press with the left hand. Using a visual approach for both hands, or using a verbal approach for both hands will be far less effective (just try it!).

So this is my first suggestion (which you can use in combination with the sequence drill I mentioned before): Work on separate hands: with the right hand give yourself verbal commands, do not look at the keyboard, and let sound guide you. With the left hand, look at the keyboard and visualise the keys to which you have to move to. If your sighting of the next chord is accurate your fingers will get there precisely.

Once you can do that HS, join hands and expect it all to fall apart, But the problem here will be one of hand co-ordination rather than accuracy (since this was sorted out at the HS phase). Do not think too much about this: we are wired to do it! If you insist on it, the body will take over and you will be able to do it.

2.      The accuracy of the movement at the extremity of your arms (i.e. the finger accuracy) is determined at the shoulder level.

A tiny movement at the shoulder level can place your fingers over a large range of the keyboard. So make sure theat the movement to place the hands/fingers in their correct position is coming form the shoulders. Then you must fine-tune this movement to get total accuracy.

Again, this is not difficult because it is what we are meant to do naturally. Most problems of accuracy come from letting the forearms/hands/fingers find the correct positions. They cannot do that as well as the upper arm.

To experience what I am talking about, close the piano lid and put your fingers on the edge. Now, without moving the hands/forearms/fingers use your upper arms to move the fingers all the way to the extremities of the piano (RH moves to the right, LH moves to the left) and back to the centre again. As you move out, have the fingers face in, as you move back to the centre have the fingers point out. So the movement is like making a thin figure 8 on its side (I hate writing about this stuff!  >:(You have to demonstrate it!).

As you do that over and over be aware of your upper arm/shoulder girddle and notice how all the movement originates from there, and how little you must move at that level to cause a huge movement at the finger level.

Now that you’ve got the idea, try that with the chords in your piece. Remember that the movement must come from the upper arm, and therefore it is at this level that you must fine tune the accuracy. Repetition will do the rest.

3. Combine 1 and 2.

I hope this helps.

Best wishes
Bernhard.

[edouard]

Hi Bernhard,
I actually applied this method to some difficult jumps i had without knowing its basis being rather ignorant in biology, does your 'verbal-sound / visual' distinction apply to all people? Or should it be inverted for left handed people? (i write with my left hand but do most other things with both or the right hand). Second, does 'verbal' mean 'saying (or singing) the notes' as you play or merely 'thinking' them?
Also, a friend seemed to think one should look at the centre of the keyboard when one has bid widespread jumps. Under your theory this is misguided then because one should focus on the left hand?
cheers,
edouard

[bernhard]

Hi Bernhard,
I actually applied this method to some difficult jumps i had without knowing its basis being rather ignorant in biology, does your 'verbal-sound / visual' distinction apply to all people? Or should it be inverted for left handed people? (i write with my left hand but do most other things with both or the right hand). Second, does 'verbal' mean 'saying (or singing) the notes' as you play or merely 'thinking' them?

“verbal” means giving names to the notes, even if it is only in your mind. If as you play you “see” or “hear” the names of the notes/names of the chords, you are verbalising them.

In the majority of people verbalisation takes part in the left hemisphere of the brain. However, as with everything in the Universe, there are degrees of grey and nothing is only black or white.

Research on right/left brain hemisphere is very recent – the whole thing was discovered in 1967 by Roger Sperry (who subsequently got a Nobel Prize for his research).

Here is the story so far:

Right hemisphere of the brain (controls the left side of the body):

-      Nonverbal (aware of stuff but cannot connect it with words)
-      Makes synthesis
-      Concrete (deal with things as they are, cannot abstract)
-      Analogic (compares – understands metaphors – size more important than number)
-      Timeless (no conception/feeling for time)
-      Non-rational (conclusions not based on reason)
-      Spatial (hence visual: see whre things are in relation to each other and how theu relate spatially – sense of perspective)
-      Intuitive (ability to have insights based on incomplete information)
-      Holistic (ability to see the whole pattern at once, even though the separate parts my appear contradictory. Sees the forest, rather than the trees).

Left hemisphere of the brain (controls the right side of the body):

-      Verbal (uses words to describe perception s of reality)
-      Analytic (figures things out step-by-step)
-      Symbolic (uses symbols to stand for things. e.g., words)
-      Abstract (ability to use a small bit of information to derive the whole)
-      Temporal (aware of time. Keeps track of time)
-      Rational (arrives at conclusions through reasoning)
-      Digital (numbers more important than size)
-      Logical (Draws conclusions based on logic)
-      Linear (one idea leads to the next in a linear way, often arriving at contradictory conclusions).


Experts agree that the sharper is the specialization the better for the person. This is technically called “lateralization” (the degree to which specific functions are carried out exclusively by one of the hemispheres). People with less lateralization (that is, a function like verbalization is carried out by both hemispheres) are more prone to problems like stuttering and dyslexia. Incidentally this is one of the reasons teachers stopped trying to change hand-dominance in children (until recently you would be forced to write with your right hand even if you were right handed). It is now accepted that forcing a child to use the right hand if they are left handed can interfere negatively with the process of lateralization. If this happens you end up with right/left confusion, which is a surprisingly common condition. How many of you out there can tell left form right? If you say left and you are always pointing right, or the PE teacher (or army sergeant) shouts Left! And you are the only one who turns right, you have right/left confusion which is indicative of incomplete laterisation. It is no big deal.

So to answer your question: Your verbal function may be located in your left hemisphere (90% of right handers and 70% of left handers), it may be located in the right hemisphere (2% of right handers and 15% of left handers) or it may be shared between both hemispheres (8% of right handers and 15% of left handers)

How can you know which one you are? Apart from specific lab tests, just observe what you do naturally at the piano: What is the easiest for you? To pay visual attention to the LH while you play the RH by ear (use a two voice invention to test this, since the melody will be equally shared between both hands)? If so you are with the majority.

To look at the right hand while you play the LH by ear (then you are in the minority who have brain hemisphere functions reversed).

Both seem to work (or not work)? Then you have poor lateralisation (as I said it is no big deal, just make sure you are not the one giving directions to the driver!)

Perhaps the greatest tragedy of our educational system is that is so much left hemisphere oriented.

Finally: Music seems to be processed naturally in the right hemisphere, but professional musicians have a hefty left hemisphere contribution.

And a couple of years ago I saw a documentary on TV investigating the areas of the brain associated with different activities. A person had electrodes attached to his brain, and as he went through some activity, there was a graphic of his brain that alighted. So as he was reading, the left frontal hemisphere alighted, when he was eating, the back of his brain alighted, and so on and so forth. Then he was given a keyboard and started to play Bach’s Italian Concerto. His whole brain alighted like a Christmas tree.

Best wishes,
Bernhard.

[bernhard]

Also, a friend seemed to think one should look at the centre of the keyboard when one has bid widespread jumps. Under your theory this is misguided then because one should focus on the left hand?
cheers,
edouard

No, it is not misguided, it is just more difficult.

Yes, it is all right to look at the centre of the keyboard, or even do skips with closed eyes. After all blind people play the piano (some superbly). However, if you are having a lot of trouble even looking at the keyboard, you may want to start with all the help you can get. So, yes, have skipping without looking as your final aim if you wish.

Best wishes,
Bernhard.

[rlefebvr]

I can vouch for Bernard's theory here.
When I play my scales HT, I always look at my left hand. Every attempt  to concentrate on my right hand has finished in total failure. ( Yes, I know I should not look at all while playing my scales.)

Another example is Henry Mancini's Pink Panther theme  or "In The Mood" where the left hand plays a very repetitive pattern. I still keep my eye on the left hand, despite the fact the changes are happening on the right side, even the jumps.
I have on several occassions tried to do the opposite and it has never ever worked.

[Shagdac]

Thank you so much (again) Bernhard...it seems to be helping. It's funny, but when I actually thought about it, it's very true....my right hand on any piece (once I know it), usually goes pretty much on it's own, and the left is usually the one I keep visual track of....I just never realized it until now! Of course with many pieces I have visualization as my hand placements are not that far out of sight.  It was strange practicing the piece tonight, I had been up to a metranome setting of approx. 90 or so...and right before I left for my break I was up to about 140 (the norm that I've heard this is about 178 or so). It just seemed to start getting easier.  It was almost like if I looked at the music or "thought" about it I would goof up....but at least 5 or 6 times I just played...my hands just went where they were supposed to without looking, and with no thought process of my own. Now if I can just get that to happen every time! I am right handed, but do many things as a  "lefty"...back when I went to school, they tried to change you if you showed a left tendency. I've always felt I should have been left-handed!  I've never had something so simple give me so much trouble! Oh well, I will get it. I see my piano coach tomorrow, and am going to print out what you advised as I think many could find it useful. Also, just wondering....Gottschalk is probably best known for his "Dying Poet" piece. Are you familiar with this? It's not technically difficult, but I think very beautiful. So much of his music is "jazzy" and somewhat out of his time, but this piece is slow, and very expressional. Just wondered your opinion on it. I would love to play additional songs by Gottschalk for the competition,,,(if I make it), but I think any more than 2  would not be showing enough variety.
I'm sure I will have more questions, but I thank you for your advise and time in answering my questions. I truly appreicate it, and it HAS helped so much!

Shag

[faulty_damper]

Hmm... interesting.  I, however, look at my right hand when playing most of the time.  If I recall correctly as I type this reply, when I look at my left hand, I screw up more.  Does this mean my brain is the opposite of what you said about the left/right brain functions?  I'm right-side dominant.  Hmm... I'm gonna have to go play and see if this is right. (or left...? )

[Clare]

Wow - I always wondered whether I was strange and unusual always looking at my left hand for no conscious reason when I play. How terribly interesting.

[petzzo]

Hi, I am very sorry for reopening this almost medieval thread, but the topic caught my attention. Few months back I started improving my scales and arrpeggios (which I heavily neglected during my previous education) and realized my main problem was the eye-hand (ear, when under pedal) coordination. I also noticed that I was always looking at my left hand, so I decided to focus my sight on my right hand when doing ascending scales/arrpeggios and on my left when descending. It made sense because I was always looking at the hand which had it harder (because of the thumb under). Since, my scales/arrpeggios has improved, but it is hard hard to say if it was because of this, or because I simply practised them more. So after reading all this brainy stuff, my concern is if all these conscious (sometimes even forced) alterations of sight are for good and will improve, or connect or I dont know what my hemispheres, or mess it up completely. What do you think? Thanks.     

[senanserat]

OK. I am not familiar with this piece, and I do not have a score in front of me. But the problem is a general one. So I will give you a general suggestion that you may be able to apply (modify it if necessary) to your specific problem.

1.      Yes, it is impossible to look at both hands at the same time in this case.

So, if you must look at one of the hands, look at the left hand.

Why?

Now this may blow your mind! The right side of the body is controlled by the left hemisphere of the brain which specialises in (amongst other things) verbal communication and sound. So you will be able to find your bearings on the right hand by sound. That is, your geographical orientation for the right hand will be basically by ear.

The left side of your body on the other hand is controlled by the right hemisphere fo the brain which especialises in visual information. So you must get your geographical orientation for the left hand by sight.

This has other interesting consequences: When learning hands separate, it is very effective to tell yourself (verbally) the names of the notes for the right hand, while it is far more effective to visualise the keys you have to press with the left hand. Using a visual approach for both hands, or using a verbal approach for both hands will be far less effective (just try it!).

So this is my first suggestion (which you can use in combination with the sequence drill I mentioned before): Work on separate hands: with the right hand give yourself verbal commands, do not look at the keyboard, and let sound guide you. With the left hand, look at the keyboard and visualise the keys to which you have to move to. If your sighting of the next chord is accurate your fingers will get there precisely.

Once you can do that HS, join hands and expect it all to fall apart, But the problem here will be one of hand co-ordination rather than accuracy (since this was sorted out at the HS phase). Do not think too much about this: we are wired to do it! If you insist on it, the body will take over and you will be able to do it.

2.      The accuracy of the movement at the extremity of your arms (i.e. the finger accuracy) is determined at the shoulder level.

A tiny movement at the shoulder level can place your fingers over a large range of the keyboard. So make sure theat the movement to place the hands/fingers in their correct position is coming form the shoulders. Then you must fine-tune this movement to get total accuracy.

Again, this is not difficult because it is what we are meant to do naturally. Most problems of accuracy come from letting the forearms/hands/fingers find the correct positions. They cannot do that as well as the upper arm.

To experience what I am talking about, close the piano lid and put your fingers on the edge. Now, without moving the hands/forearms/fingers use your upper arms to move the fingers all the way to the extremities of the piano (RH moves to the right, LH moves to the left) and back to the centre again. As you move out, have the fingers face in, as you move back to the centre have the fingers point out. So the movement is like making a thin figure 8 on its side (I hate writing about this stuff!  >:(You have to demonstrate it!).

As you do that over and over be aware of your upper arm/shoulder girddle and notice how all the movement originates from there, and how little you must move at that level to cause a huge movement at the finger level.

Now that you’ve got the idea, try that with the chords in your piece. Remember that the movement must come from the upper arm, and therefore it is at this level that you must fine tune the accuracy. Repetition will do the rest.

3. Combine 1 and 2.

I hope this helps.
 
Best wishes
Bernhard.

This looks quite promising I think I will keep it in mind to perfect some pieces I still have problems with accuracy