HAPPY NEW YEAR

New Year’s resolutions? You’ve probably been mulling over what the next year might hold. Perhaps you’ve also been wondering how to fruitfully work on your piano playing?

An issue on many a pianist’s lips; how to secure a helpful, attainable, enjoyable, and productive method of ongoing practice. As we know, many begin their practice with great vigour and dedication (whether at the beginning of the week or a new year), but very soon, old habits surreptitiously creep in. Finding enough time is nearly always at the top of the ‘can’t practice’ list, and for a sizeable proportion, acquiring the right type of motivation can also prove tricky.

Finding the right weekly practice schedule for you is a largely personal affair, so in this post I merely aim to throw a few ideas your way, shedding some light on a continuous dilemma.

1.

Many prefer morning practice, but sometimes working late in the evening can be beneficial. Irrespective of the time, set yourself a workable goal. I have only a couple of adult students, and they both practice before going to work, starting at around 7.00am. They manage to focus for one hour. Later in the day, after work, they occasionally find the energy for a further 30 minutes. Considerable dedication is required. This might not be an option for you. Depending on your level, aim for 45 – 60 minutes for 5 days per week. Allow a couple of days for rest and relaxation! Serious students will, of course, need and want to work for a much longer period if time, and for 6 or 7 days per week.

2.

When you sit down to work at the piano, have a structured routine in place. It should encourage some freedom but keep work on track. The routine shouldn’t feel onerous and should still manage to pique your interest. It must also preserve concentration. I suggest a few flexibility exercises as a warm up (away for the keyboard), letting your arms swing loosely by your side; stretch out your arms and hands, freeing each muscle. Notice how relaxed the upper torso feels. If tension arises as you play, you can revert to this feeling when necessary. Prior to this, sit still, and quiet your mind for a couple of minutes. Clear your thoughts. Decide on a positive practice session. You’ll be surprised at just how effective this mini-meditation can be.

3.

Once you’ve warmed up your muscles, some five-finger exercises might be helpful. Begin on middle C, going up to G and down again, with the right hand. Use an octave lower for the left hand. Slowly key-bed, playing heavily into the keys with each finger. As you play, ensure your whole arm, hand, and wrist feel relaxed, loose, and flexible between every note. Aim to do this a couple of times with each hand separately.

4.

Now you’re ready to go! My students tend to begin with a 10 minute sight-reading session. Sight-reading is a multi-tasking challenge, so to make progress, implement at the start of a practice session when concentrating powers are at their strongest. Have plenty of material. Choose exercises that are well below your true standard of playing. This way, this element feels easy and enjoyable.

5.

For those keen on exercises and studies, now may be a good time to include them in your regime. I appreciate some of you will be grimacing in dismay at the thought of Hanon, Czerny and the like. You can work at your technique on scales and arpeggios, or via sections of your pieces, but I find it easier to isolate technical difficulties and work on them away from the music. Whatever you do, ensure you are truly improving your playing. Avoid repeating old habits of stiffness and tension.

6.

Turning to your repertoire, it may be advantageous to rotate pieces, that is, rather than work at each one every day, practice one or two pieces (or movements) at each session, then leave them the following day to work on something else. This keeps your mind fresh and motivation, high. But it can be helpful to ‘play through’ areas (or whole pieces) you worked on the previous day. This helps keep them in mind. It also establishes what was successfully achieved at your practice session the day before.

7.

Give yourself a deadline. If you are learning a particular 5 minute piece, aim to have it fluent and under your fingers in a week, or maybe two, if practising regularly is a real challenge. Goals can really help the learning process, whether for an exam or performance, and you will profit from the extra effort required to make sure you can play it quickly. It’s always possible to learn ever quicker. However, this requires a cool, level-headed approach. This generally precludes copious ‘play-throughs’. Instead, focus on small sections, speedy finger precision, and a constantly attentive ear.

8.

When learning, use a methodical approach to mastering a piece. Start with careful fingering and practice each hand separately. Then, play hands together with a metronome at a very slow tempo until you fully grasp it. If you use a ‘standard’ approach when learning a work, it can be employed for most repertoire, therefore learning will be progressively swifter.

9.

As soon as you lose focus, switch your attention elsewhere. Move to less challenging music, or work at a piece you already know. The beginning of the learning process is often more demanding. Try to have several pieces already secure. This enables you to hone interpretation and tonal quality.

10.

End your session on a high note, and play something which is securely learnt, and which you enjoy, Aim to do this at every session – this will aid positivity and bode well for future efforts. Good luck and happy practising!