This might seem a rather strange blog title, but it’s a topic that I have been musing about for a while. There are, of course, many considerations when playing any instrument but particularly the piano. Elements requiring much thought include; co-ordination, notes, fingering, rhythm, pedalling, colour, sound and so on. The success of all important technical and musical issues depends on how carefully we listen and focus totally on what we are doing.
It’s so easy to play with closed ears; not really focusing on what we are playing and perhaps not being fully engaged either. That may sound daft, particularly as we are making music, but really it’s a very common problem and we are, more often than not, all guilty of these musical crimes. There are several issues here; the first is being able to hear what is being played beyond the notes, and the second, is to be fully focused and engaged as we practice.
It’s all too easy to practice physically, striving to improving technique, subsequently blocking out the actual sound being produced. Another mistake is to play without really thinking about what we are doing, merely ‘going through the motions’, our minds engaged elsewhere. So how do we learn to listen and focus on our own playing objectively every time we practice?
All musicians must adhere to the score so this has to be learnt thoroughly, but beyond the notes, musicianship takes over, or it should do. If you find that you are not dealing sufficiently with technical issues, then perhaps learn a slightly less demanding piece which will allow you to concentrate fully on the music. This may be the crux of the problem; technique often demands so much mental work that the sound world and musical structure can sometimes take second place, when really it should reign supreme. When practising, there is a tendency to enjoy the physical sensations of playing and not really focus on the sound being produce.
One way to ensure total focus and complete concentration is to ‘hear’ the music in your head before you play it and then try to reproduce those sounds as you are playing. It’s a form of singing but in your head; visualisation but in sound instead of pictures (but visualising pictures may be useful too!). This technique can be especially helpful if you are memorising a work. Singing is a crucial element in any form of music making, but is particularly effective when applied to piano playing. It’s not actual singing (although this can be a good idea) but more specifically hearing melody lines in your mind, deciphering which musical lines need to be emphasized and coloured, and which can be allowed to disappear within the texture.
Thinking about musical texture in this way requires much mental work, so it’s not really possible to do it without engaging our ears and minds fully. This especially applies to pedalling, where far more can be achieved by listening to the sounds that are being produced as opposed to purely observing written signs. Whilst thinking about musical lines and textures, appropriate tonal sonorities are created too and chances are, you will produce a more beautiful sound. You will also learn to ‘hear’ where the music is going and be able to deliver a convincing account of a work.
Pianists generally don’t have as many opportunities as other instrumentalists or singers to work in a group; whether that be a choir or ensemble. This is a pity because playing with others also helps to focus our minds, forcing us to really listen. Whether chamber music or piano duets, it’s not possible to play successfully without total compliance. So if you find yourself losing impetus, then perhaps it may be time to find a musical partner or join a choir. Working with other musicians can be such an inspiring experience which can only help to improve mental discipline. We owe it to ourselves (and those we work with) to work at our playing with open ears and embrace the music by being totally present and ‘in the moment’ every time we touch the instrument.
Image courtesy of www.factrange.com
For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.
You can find out more about my other piano publications and compositions here.