Tag Archives: Excellence

Creative Juice #30

Creative Juice #30

A baker’s dozen of artful articles (better for you than donuts!):

Monday Morning Wisdom #62

Monday Morning Wisdom #62

Found on Facebook:Question

Monday Morning Wisdom #55

Monday Morning Wisdom #55

Practice 1

How to Practice the Piano: Learning Repertoire

How to Practice the Piano: Learning Repertoire

This is a continuation of a series. See previous installments here: How to Practice the Piano: The Warm-Up, Part I—Preparatory Exercises; How to Practice the Piano: The Warm-Up, Part II—Etudes and Scales; and How to Practice the Piano: Selecting Repertoire.

Repertoire is the collection of pieces a musician is able and ready to perform.

Always start your practice with warm-ups (see the posts referenced above). I’m an old lady with arthritis in all my joints. It takes me fifteen to twenty minutes of warming up before my fingers are agile enough to do some serious playing.

Piano 9So that you don’t just put in your time without making any progress, think about what you want to accomplish during your practice session. Be specific: “play pages 30 and 31 smoothly” is a better plan than “learn the second movement.” Mindfulness helps you become the musician you want to be.

When I’m beginning a new piece, I can tell by looking at it (how dense the notes are, how complicated the rhythms are) whether I need to start out playing just one hand at a time. I play the (mostly) “melody” hand first, then the (mostly) “harmony” hand. (That’s just my personal preference. It really doesn’t matter which hand you play first.) If there are sections I stumble over during my read-through, I mark them in pencil and go back and practice those sections until I can get through them pretty well.

Unless you are just beginning to learn how to read music, I don’t recommend that you write out your note names. It will slow your mastery of sight reading. (Unless there are lots of ledger lines. I give you permission to write out note names wherever there are three or more ledger lines.)Piano 3

I wish when I was learning to read notation someone explained to me that eventually I wouldn’t need to recite “every-good-boy-does-fine” to figure out what notes to play, and that I would just internalize the patterns on the page and know how they fit my fingers. Or maybe someone did, and I didn’t get it. Anyhow, I remember how much of my early practice involved deciphering those notes over and over again. How tedious, and how I hated to practice! The sooner you get past that phase, the better. After all, notation is just a pictorial representation of the sounds.

When you can play the piece with each hand separately pretty well, put them together.

From this point on, I practice in terms of the rule of ten. If the piece is fairly short, I play it ten times every day at a comfortable tempo. I keep a scratch pad and pencil on my piano bench and make a tally mark after each repetition.

Piano 13If the piece is longer, I work through it a page at a time, playing it ten times through; then two pages ten times through, then three, etc., until I’m playing the whole piece through multiple times a day. (If it’s really long, I’ll only play it through two or three times a day, stopping from time to time to drill a difficult part.)

I also keep track of the tempo. I have an old-school metronome—if you have a smart phone, you can probably find a free or inexpensive app. I start out at a comfortable tempo, and identify the number of beats per minute with the metronome. I write it at the top of the page of music in pencil. If it needs to go faster, over the course of days, weeks, and months, I increase the tempo in increments of anywhere from 1 to 10 beats per minute, until it’s up to the speed it should be.

Sometimes it makes sense not to practice from beginning to end. Sometimes it’s expedient to learn the ending first, especially if the ending is particularly spectacular. Your practice does not have to be linear. You may accomplish more in less time if you master the most challenging and unique sections first (for example, the B, C, D, and E sections of a rondo, rather than the A section that gets repeated over and over).

Also, if you make a mistake, don’t go back to the beginning of the piece and start over. Instead, analyze your mistake. Why did you miss that note? Did you misread it? Was your fingering awkward? Go ahead, experiment with different fingerings, and find one that you can execute smoothly. Write it down in the music. Mark the spot, and turn it into a mini-exercise. Remember the rule of ten. Choose a couple of measures around the spot, and play them ten times (or more, until they become more fluid). Next time you practice the piece, find that spot again and practice the snippet as part of your warm-up.

Piano 11In the olden days, I bought recordings of pieces I was serious about learning so I could listen to them over and over. I still do, but I also look for video performances online. Honestly, YouTube is my second home. I love it when I can find three or more excellent performances of the same piece and study them. If you look at my Pinterest page, you’ll see lots of my favorite videos saved there so I can find them quickly. It’s interesting to see how different pianists interpret the same piece. You hear things you didn’t realize were there. And you make decisions about how to make the piece your own. For example, I don’t play the fast part of the Rachmaninoff Prelude in c# minor up to tempo. I think it begins to sound muddy, and you miss the beauty of those Russian School arpeggios.

Keeping my repertoire up to “performance” level (I don’t perform!) is a daunting task. In January, 2014 I identified 12 pieces I wanted to concentrate on for the year. I’m still working on the twelfth, Beethoven’s Moonlight Sonata (the third movement is such a bear!). I’ve worked on it nearly every day in 2015, and I’ve still got a long way to go.

Over the years I’ve collected lots of piano music. I’ve started photocopying pieces in my repertoire and putting them in a big binder so I don’t have to go looking through my books for them. That way I can systematically practice my way through the binder and keep my skills up on all those pieces.

How much time should you practice? And do you have to practice every day?

Piano 2If you want to get good, yes, you do have to practice every day. Oh, you can miss a couple days a year, but if you miss a couple days a week, you’re not going to play your best.

If you are younger than ten years old, start out practicing 15 minutes every day, and put in as much extra time as you like. If you’re ten or older and you’re a beginner, start with 30 minutes a day, and add to that as you get better. Read Sit. Stay. for a discussion of the relationship between practice and mastery. And just so you know, professionals typically practice four to eight hours or more every day.

I practice 60-90 minutes most days. If I don’t have a free block of time on a particular day, I’ll play less rather than not at all, but for me, playing a half hour or less just isn’t worth it—it’s like stopping just when you get going.

Do you have any tips about practicing piano that I didn’t mention in this four-part series? Please share in the comments below.

Sit. Stay.  

Sit. Stay.  

rafe esquithIn his 2003 book, There Are No Shortcuts, East Los Angeles master teacher Rafe Esquith speaks of his struggle to communicate to his students the level of commitment and self-discipline required to go beyond mediocrity and achieve excellence. “They seemed too easily pleased with their efforts; if they got most of their arithmetic correct, they figured that was better than they had done the year before and they were off the hook. . . how many children pursue their dreams anymore? How can you go after things when you’re sitting in front of a television set or computer screen?”

He accompanied forty-five students to a concert, and they were invited backstage afterward to meet world renowned cellist Lynn Harrell. When asked how he could make such beautiful music, Harrell responded, “Well, there are no shortcuts.”

That slogan became his inspiration to help his students make it to the next level—and the next, and the next.

Many of us have a desire to be good at something. We make excuses why we are not. “I’m not a born teacher like Rafe.” “I don’t have Lang Lang’s musical talent.” “I’m just not as artistic as da Vinci.”

The biggest difference between us average people and the great masters is: they put in the work. Even when they aren’t feeling particularly inspired. They pursue excellence for its own sake.

I had the pleasure of meeting Rafe Esquith and some of his students at a book signing. The students performed some music they’d added to a Shakespeare play they’d presented at school. Their guitar prowess was amazing. These fifth graders played much better than me—and I have a Masters degree in music education!

After the presentation, while I was waiting in line to get a book signed by the author, I asked one of the students, “How much do you practice your guitar every day?”

“Three to four hours. Usually four,” he answered. Hmmm. I practiced guitar half an hour a day.

In order to have that much time available for practice, that fifth grader has to forsake some of the other pursuits of typical ten-year-olds, like video games, computer time, television, or hanging out with friends. That’s a big sacrifice—but the payoff is a high level of skill on guitar.

Daniel J Levitin

Daniel J Levitin

Malcolm Gladwell

Malcolm Gladwell

In Outliers, author Malcolm Gladwell talks about the 10,000 HourRule. He quotes the neurologist Daniel Levitin as saying, “The emerging picture from such studies [of people who are undeniably the best in their field] is that ten thousand hours of practice is required to achieve the level of mastery associated with being a world-class expert—in anything. . . But no one has yet found a case in which true world class expertise was accomplished in less time.”

Gladwell uses the Beatles as an example of this principle. To baby boomers, their explosion into the music scene seemed sudden and immediate. It was anything but. “The Beatles ended up traveling to Hamburg [Germany] five times between 1960 and the end of 1962. On the first trip, they played 106 nights, five or more hours a night. On their second trip, they played 92 times. On their third trip, they played 48 times, for a total of 172 hours on stage. The last two Hamburg gigs, in November and December of 1962, involved another 90 hours of performing. All told, they performed for 270 nights in just over a year and a half. By the time they had their first burst of success in 1964, they had performed live an estimated twelve hundred times. Do you know how extraordinary that is? Most bands today don’t perform twelve hundred times in their entire careers.”

The Beatles certainly put in their 10,000 hours before they became famous. And Rafe Esquith’s guitar students? 10,000 hours divided by 4 hours a day = 2500 days or 6.85 years. By contrast, 10,000 hours divided by 30 minutes a day = 20,000 days or 54.8 years. So who has a better chance of becoming a really good guitarist, me or those fifth graders?

The 10,000 Hour Rule applies to everything that requires skill, not just music, but art, sports, math, learning a foreign language, hammering nails, you name it. There are no shortcuts. You have to put in the time.

When I resigned from my teaching job a year ago (click here to read about my transition from teacher to non-teacher), I thought maybe I’d write again. However, I couldn’t get going. My brain was like a desert; I didn’t have even a drop of an idea. Sitting in front of a blank Word document was absolutely excruciating. But you can’t be a writer without writing.

The 500 Word Challenge from blogger Jeff Goins finally got me out of my dry spell. Last October I wrote almost every day. Some of the pieces eventually became posts on Doing Life Together. Sitting down to write every day helped me make writing a habit. It got me over the hump; it started the juices flowing. I think my skill has really grown in the last eight months, because I am spending hours every day articulating the thoughts coursing through my mind.

What is it that we say to dogs when we want them to stay put? “Sit. Stay.” That is my shorthand for showing up to do the work. Sit down at the computer. Stay there until I have met my daily goal. Or until it’s time for dinner, whichever comes first.

Is there something in your life that you committed to working toward? Have you noticed yourself improving over time? Share with the ARHtistic License community by commenting below.