My column for the latest bi-monthly newsletter for Pianist Magazine contains tips and suggestions for how to keep a rhythmic pulse. Accuracy in this respect is an incredibly important component when learning to play any instrument, and many of you have written asking about the best ways of doing this. So here are my ideas – I hope they are of interest.
Keeping time (or playing rhythmically) can be a challenge for many, and particularly for pianists, as they are often playing alone and therefore have the opportunity to change the tempo as often as they wish! For those who feel they need to curb any tendency to rush or linger, here are a few ideas to implement at your practice sessions.
- To create the best tempo in any work (for you), locate what you feel is the most taxing area of the piece being studied and decide what speed is most comfortable in order to achieve clarity, fluency and a musically coherent performance.
- Once you’ve instigated a speed (when learning a new piece), go through the piece and tap the rhythm of the right hand part with your right hand (on the lid of the piano), and the left hand part with the left hand (also on the piano lid). You could do this hands separately at first, then both hands together. Ensure you count as you do this, so you establish a firm, steady beat. It’s easier to attain rhythmic precision (at the start of the learning process) when notes are separated from the rhythm.
- For fluency and rhythmic accuracy, consider using a metronome at the beginning of the learning process. Listen to the ‘tick’; both the speed of the tick and the ‘space’ in between. One of the most useful methods to attain accurate pulse keeping, is learning to ‘sit’ on the metronome tick. This skill can be acquired by playing exactly with the tick every time it occurs, as opposed to just before or after; both of which can happen with alarming regularity if you’re not used to attuning your ear and mind to decisively following a pulse. To do this effectively, it’s best if notes are securely learned, so you’re free to focus on time-keeping.
- Once the metronome has been used for a period of time and you’ve got used to playing along to an omnipresent beat, aim to count out loud as you play, or count along to the beat you have established. It can be a good idea to sub-divide the beat for this purpose. If your piece is in crotchets, count in quavers, and if it is in quavers, count in semiquavers, and so on. It may be exhausting, but by playing along to your verbal counting, you’ll quickly become accustomed to where you are in the bar and should eventually be able to ‘feel’ the pulse. As a general rule, the smaller the sub-division, the more accurate your pulse keeping.
- Finally, curb any sense of rushing (or slowing down), and encourage excellent articulation (or touch) by paying attention to the ends of notes; experiment by employing ‘active’, strong fingers, placing every finger precisely, producing a full, rich tone, paying special attention to the fourth and fifth fingers. Each note (or chord) must ideally be in its rightful place at any time, and shouldn’t be ‘cut’ or brushed over.
As with many facets of piano playing, listening will prove to be a vital element when learning to play in time. If you can train your ears to be really aware of what is being played, then you’re on your way to honing rhythmically sound performances.
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.
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