How do you learn your pieces ?

[kriatina]

What is the best way to learn a new piece ?

Is it best to concentrate and work out the fingering for the left and right hand first of all
and then start to learn the whole piece for the right hand and later the right hand
and later combine the two of them
or do you start every new piece by learning each bar both hands together
and go from there?

Are there specially tried out ways or is it completely different/individual for everyone?

Thanks from Kristina.

[andreslr6]

it depends on the piece, when it's a fugue for example, I first learn and memorize each voice separately, then the combinations and only after that do I start practicing with all the voices.

on etudes I normally learn hands separately first, and ideally I would memorize them separately too, but that's not always the case  .

for any other kind a piece, I learn it by sections, and always try to memorize them before moving to the next big section. Here I also combine the way I practice the piece, again, depending on it's difficulties, etc.

and yes, before starting to practice a piece or section I first make a sight reading and figure out the fingerings, taking into account the tempo I plan to play it and the coordination of both hands, etc. Sometimes it's completely obligatory because not every edition has fingering, like some of Henle's Bach music for example, I had to write down the fingerings for an entire suite I played because it didn't have any single one.

oh, and to kind of answer your original question , I think that the best way to learn a new piece is any way where you can solve any problem since the beginning of your study .

[lilla]

When I start a new piece, I first look at the patterns. I look for chord progressions, repeated patterns, rhythms.  The music usually becomes much easier because there are almost always definite repeated patterns and chords.  What initially looks like a complicated pieces, often becomes more manageable because you observe repetitions - whether in chords, rhythms, or key.

[j_menz]

I read through the whole thing (at whatever speed I can reasonably manage) 3 or 4 times to see what needs to be done, then do it as required. Different pieces need different things.

I almost never do hands separate, never do voices separate in polyphonic pieces, and only think about fingering if what my autopilot comes up with doesn't work.

[danhuyle]

Listen to recordings
Learn the hardest part and make it a priority to memorize it first
Never memorize an entire piece
Watch Lang Lang play the piece for inspiration and copy his showmanship


If a piece is one I can't handle, then don't spend a lot of time.

[kriatina]

Thank you, andresir6, lilla , j_menz and danhuyle
for your thoughts and kind replies.

I had to ask this question because I have noticed that with Bach’s compositions,
the preparation & fingering etc. becomes much more involved
and has to be approached in a completely different way than any other composer.
I almost feel like starting from the beginning all over again
and I certainly have to re-think how to approach every piece  according to its own individuality.
I thank you very much again for your kind thoughts on this,
from Kristina.

[thalbergmad]

I always make sure a piece is in my brain before I attempt to transfer it to my fingers.

Thal

[kriatina]

Thank you, Michael,
it is very important what you point out;
and it follows to make sure about the “touch”
each piece wants to be represented with.

Whenever I have a chance,
I listen to compositions before learning them.

For example I have listened to Elgar’s “Nimrod” played on a
“thundering” Steinway-Grand and it sounded a bit “heavy”.

Whilst researching I noticed
that Elgar worked out many of his compositions
on a very sensitive-singing Broadwood square piano
which he chose from his father’s (work) shop
because he felt very  much “at home”
with the tonality of this particular instrument.

Bach’s compositions were often thought out at home
on a clavichord and I can well imagine
how very difficult it can be these days
to work out the tonality and speed and how to represent
these composers and their compositions with modern instruments.

Thanks again from Kristina.

[ranniks]

Remember from sheet and disregard sheet completely. That's my achilles's heel.