This is the third post in my series intended to help those who would like a few tips on how to prepare and practice piano pieces from the very beginning. It can be beneficial to have a strategy, or ‘tried and tested’ method which can be used on a whole range of pieces and genres. The first two posts examined elements for consideration at early stages of the learning process; the first post dealt with pre-practice preparation (you can read it here), and the second looked at separate hands practice (you can read it here). This post will survey ways of playing and practising hands together.
By now you are familiar with your chosen piece. You have marked up the score and have worked at it hands separately in various guises. So now it’s time to take the plunge and work hands together. Here are a few ideas:
1. Depending on your level of fluency, a good way to start practising your piece both hands together, can be to assess the rhythm and pulse. Tapping the pulse and rhythms, both hands; the right hand tapping the top and left hand tapping the bass line will help to solidify the tempo, pulse and rhythmic patterns in your mind. Work on rhythms line by line, or bar by bar if you prefer, tapping about a third of the intended speed to start with, building up until you can tap a page at a time up to tempo, followed by complete sections and finally the whole piece. Add the metronome if necessary, however, developing your own reliable pulse is preferable. This should help with co-ordination.
2. Play the right hand material, just one bar at a time, and then the left hand, which can serve as a useful reminder of the separate hand patterns. Follow this by playing both hands together with accurate slow, deliberate rhythmic patterns. You may need to play one bar at least 10/20 times at a very slow speed to really get the hang of how hands fit together, technically and rhythmically. When practising, always continue to play over the bar line, as opposed to stopping at the end of a bar. I work with students on much smaller areas, examining perhaps just one beat at a time. Often it’s necessary to break beats down too, particularly if a crotchet beat, for example, contains four semiquavers, played with both hands, in different or changing directions, such as this:
The bracket indicates a potentially awkward passage which may require careful attention, and very precise fingering, or segregated, targeted work. Taking the notes out of context, and without adhering to any rhythm, can be a good way to asses the movements and coordination needed for smooth playing. Now try changing the articulation; if your piece is legato, try playing non-legato then staccato etc.. You could also experiment with varying tonal control; play deep into the key bed on the tips of your fingers with a powerful, full sound, and then pull back and play the same passage lightly – you will see the difference in evenness and coordination immediately.
3. Within each bar, try to asses problem areas or difficulties, essentially be your own teacher; although it’s not a good idea to learn alone, as this can lead to many technical deficiencies. Really listen carefully and attentively to everything you play, and when practising aim to ‘think through’ passages; focusing on the left hand line, even when playing hands together, then the right hand line. Look for elements such as rapid passage work or awkward rhythmic patterns, which will need very slow work; practising in patterns, rhythms, and as well as with various articulation can help (as described in tip 2). Other problematic areas include jumps or leaps of any kind. Spot practice is also required here; take technical issues out of context and work on them alone as this usually encourages a greater knowledge of a work. This is especially true of chords or chordal passages; work slowly positioning chords (with the correct fingerings), moving from one to another, mentally making note of the changes, until they become a habit. Also make sure sufficient arm weight is used here, to cushion the sound.
4. Watch your movements when starting to play hands together. Aim to move your arms laterally, freely and easily, supporting the wrists and fingers. Working at this element hands together takes a lot of concentration, and it also requires mindful, conscious practice. Beware of tension as you work slowly, and even more so as the tempo is raised. How does your body feel? Do you feel tight and uncomfortable, are shoulders raised? It can help to observe your hands and their positions, so you may need to memorise note patterns in order to do this.
5. A particularly useful tip is to land on a note (or group of notes) as quickly as possible, and before it/they need to be played, essentially ‘arriving’ too early. To produce a good sound, each note requires proper preparation. This usually involves preparing arm weight as well as the required touch, so the quicker you can ‘land’ on a note (without actually playing it) and be in the ideal position to play it, the better the tone quality. This is particularly true in fast pieces. To prepare, practice moving between notes as swiftly as possible, landing in the correct position ahead of playing, with accurate fingering, but try not to ‘cut’ beats as a result, the endings of notes are as important as the beginnings. Quick, light lateral arm movement is necessary, as is quick mental preparation and coordination.
Work bar by bar and line by line, making every minute you are at the piano, count. In the next post, I will provide a few tips for acquiring a beautiful sound and dynamic colour.
Melanie Spanswick has written and published a wide range of courses, anthologies, examination syllabuses, and text books, including Play it again: PIANO (published by Schott Music). This best-selling graded, progressive piano course contains a large selection of repertoire featuring a huge array of styles and genres, with copious practice tips and suggestions for every piece.
For more information, please visit the publications page, here.
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