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More Than Just The Music

This week’s guest post features an article by pianist, teacher and performance coach Charlotte Tomlinson. In her post, Charlotte shares her journey towards becoming a performance coach and her approach to helping musicians enjoy a free, enjoyable and inspired performing life. *** *** *** More Than Just The Music: My Journey Towards Performance Coaching Performance Coaching is still quite a new concept in the music profession at large, although over the last few years there has been a much greater openness towards anything that supports a musician’s overall health and wellbeing. In the sports world, it’s a well understood term and Performance Coaches are common – you just have to google the term to see that there are far more performance coaches for athletes than there are for musicians. There is also a vast literature of performance psychology in the sports world that’s been around for about fifty or sixty years. For whatever reason, athletes appear to have understood sooner than musicians, that there is more to being successful in your chosen area than technique, talent and hard work. In musical circles, nobody has yet defined what performance coaching actually is, or what it should be, so I am just going to share with you my version and what I offer. As a Performance Coach, I aim to support a musician in clearing everything that gets in the way of them performing to their full potential. This can be on a physical, emotional, psychological or musical level. The next step is to help that performer get into a good emotional state so that they give of their best while loving the whole performing experience. I came to performance coaching through years of piano teaching and […]

Practice Tips from Itzhak Perlman

There are many parallels between piano playing and string playing, and a lot we pianists can learn from violinists about phrasing, timing, tone and much more besides. One of the great violinists of our age is undoubtedly Itzhak Perlman, who has spoken a fair bit about practising. The violin, that is. But I think you’ll find you can apply the same ideas to your piano practice, and I am delighted to be able to share some of the maestro’s pearls of wisdom here today. As it happens these ideas, which come from experience and the great lineage he has come from, are almost identical to the ones I have inherited from my rich pianistic legacy. What’s the deal about practising? How long should one practise? Lots of people think the more you practise the better this is. Perlman advocates no more than 4 or 5 hours a day (and those are psychotherapist’s hours, 50 minutes with a 10 minute break). You won’t absorb anything after this, and you can cause yourself little physical problems if you persist. Think of a sponge, which can only absorb a certain amount of water. If you pour more water onto a saturated sponge the water will trickle off and become wasted. On Slow Practice Perlman stresses the need for slow practice, in small sections. Also, your practice has to be mindful, not mindless. Have an agenda, and know what you want to achieve. Don’t repeat anything without hearing what you’re doing, because whatever you practise you embed. It’s also important to have patience. If something sounds great on Monday, and it doesn not sound so good on Tuesday, don’t give up! It means that it’s not yet there. Keep […]

An Interview with Nicola Cantan

A few weeks ago I had a visit from Nicola Cantan of Colourful Keys to record an interview with me for her blog. We spent a very pleasant half hour or so chatting about teaching, practising and performing and I thought I would share the video with you here. You’ll notice it is audio only for the first few minutes (there was a technological glitch with Nicola’s camera) but the picture does appear after a while – so stick with it! There are several things Nicola and I discussed that I have written about in my blog, so if you would like to read more about practising then start clicking these links. Speed of No Mistakes  Enjoying Ultra-Slow Practice  Quarantine  Part 1 of my ebook series Practising the Piano is all about practising – exactly what we should be doing in our practice time to get the very best results. If you have not already seen this, then do check out the free preview. Nicola Cantan is a piano teacher, author, blogger and creator of imaginative and engaging teaching resources. She loves getting piano students learning through laughter, and exploring the diverse world of music making; through improvisation, composition and games. Nicola’s Vibrant Music Teaching Library is helping teachers all over the world to include more games and off-bench activities in their lessons, so that their students giggle their way through music theory and make faster progress. Nicola also runs a popular blog, Colourful Keys, where she shares creative ideas and teaching strategies, and hosts regular training events for piano teachers. ***   ***   *** If you enjoyed this blog post, then you may be interested in the following resources: Practising the Piano eBook Series  There are surprisingly few books […]

Brahms Intermezzo op 76 no 7 Study Edition

Brahms’s sets of miniatures are among the best-loved shorter works in the whole piano literature, regularly programmed by concert artists and yet approachable by piano students and amateurs. The Intermezzo in A minor, op. 76 no. 7, is currently on the ABRSM Grade VIII syllabus, and will pose several challenges for those who wish to master it. I am pleased to announce that I have published some new resources featuring this work this week. These resources include an Annotated Study Edition and video walkthrough which have a special emphasis on artistic pedalling. In the video walkthrough, I look mainly at how to overcome the obstacles posed by the rests in the RH without drying out the pedal. If we pedal through the harmony as we would want to, we create the harmonic cloud the LH produces but we cover over the RH rest. If we interpret the rest as a literal and audible silence, we risk disturbing the harmonic underpinnings. There is a neat solution, involving phrase shaping, slow release pedals and overlapping touch in the LH. I admit its subtle and will take a bit of practice, but then playing a Brahms Intermezzo beautifully is no easy task! Apart from showing you how this pedalling solution works, in the Study Edition I also explore some fingering possibilities in the introduction – do we use legato fingerings and substitutions in the RH chord stream (bars 4-8) or do with go with all 5s in the top line? It depends on your hand size, but the principle is to avoid twisting at the wrist. I’ll also point out a neat exchange between the hands later in the piece that you won’t want to miss! Please click on […]

Shifting Accents

I was brought up with a very craftsmanlike attitude to practising, and was shown concrete practice tools that I was supposed to implement between lessons. When I pass these on to my own students, I can always hear to what extent they have taken them on board. I understand the reluctance to fully embrace some of the work necessary to construct solid and permanent foundations for mastering a piece because it can take quite a bit of time and effort, and a leap of faith that the practice methods will actually yield tangible results later. And sometimes during this process we have to wait patiently before we get to enjoy the emotional and visceral impact of the music we are studying – at this stage, the satisfaction comes from the construction process itself. I find this seriously enjoyable, but I realise not everyone does. People study the piano for different reasons, and not everyone will want to follow a practice path that involves a fair bit of dedication, discipline and effort. But if you want to experience a level of skill and reliability in performance that goes way beyond the hit-and-miss results that come from repeatedly reading through a piece in the hope that it will improve, then read on. I was browsing through Book 1 of Alberto Jonas’ Master School of Piano Playing and Virtuosity and came across some preparatory exercises for the notorious finale of Chopin’s Bb minor Sonata. The idea is very simple, actually. You practise with shifting accents, moving the accent from its metrical place in the bar (where we would naturally feel the beats) one note across. Once you have heard and felt it this way, with complete technical control, you move it […]

Seeing the Forest

This week’s guest blog post features an introduction to the From the Ground Up series by its author, Ken Johansen, following its launch last week on the Online Academy. In his post, Ken describes the “from the ground up” approach to learning pieces and the rationale behind his project. I wholeheartedly recommend this approach for anyone who wants to learn new works in a less daunting and more enjoyable way! *** *** *** A page of piano music, taken at a glance, looks a bit like a forest, the black notes forming more or less dense thickets of trees and shrubbery against the white page. Seen from afar, this forest looks fairly uniform; it’s difficult at first to distinguish its content and boundaries, or to see the variety behind the uniformity. But we’ve heard that this forest is enchanted, and we want to explore it for ourselves, so we approach it with a mixture of excitement and trepidation. How do we enter this musical forest, which may sometimes appear dark and impenetrable? Some pianists choose to listen to a recording first, but that is a second-hand experience. We want to walk in the woods ourselves, not listen to someone else’s account of it. A few musicians spend some time just sitting with the score, listening to it inwardly, finding its phrase and section divisions, perhaps analysing the harmony. But most pianists are too impatient for this; they want to start playing right away. If they are good sight-readers and the piece is not too difficult, this can make for an easy and pleasant stroll. But if their reading ability is mediocre, or if they are learning a piece that is at the upper limit of their technical ability (which […]

Learning New Pieces From the Ground Up

One of the most common questions my readers ask is how they can learn new pieces more effectively. As it turns out, one of the most popular posts of all time at www.practisingthepiano.com is “But It Takes Me Ages To Learn A New Piece!”. Therefore, I’m very pleased to announce the launch of a new series of resources on the Online Academy this week which directly addresses how to go about learning new pieces more efficiently – it’s called From the Ground Up. Building on a similar approach and principles covered in my series Deconstructing the Score, From the Ground Up is a series devoted to learning individual pieces using outlines and reduced scores that help you to practise more effectively, memorise more consciously, and interpret music more creatively. Each From the Ground Up edition starts with a reduced score or foundation which reveals the essential structure of the music. Detail is then added in layers through successive scores thus enabling learning a piece from the ground up rather than the top down. Authored by Ken Johansen, co-founder of the Read Ahead sight-reading programme and professor at the Peabody Institute of The Johns Hopkins University, the series will feature popular works from throughout the repertoire, starting with two works by Schumann and JS Bach respectively. Please click here to find out more about From the Ground Up on the Online Academy or on one of the following links to view the first two editions: Schumann – Von fremden Ländern und Menschen (from Kinderszenen) Bach – Little Prelude in F (from the Notebook for Wilhelm Friedrich Bach) NEW: Beethoven – Sonatina in G (first movement) How to access From the Ground Up? If you are already a subscriber to the Online […]

Learning Away from the Piano

One of the reasons modern aircraft are so safe is the number of backup systems they have on board in case one system fails. Apparently there is a backup to extend the landing gear if the primary hydraulic system fails – flaps and flight spoilers have backup systems too. But what happens to the poor pianist when disaster strikes? If we are to perform to our best abilities in turbulent weather, such as might be generated by our mind in an exam room or recital situation, surely we need backup systems too? Even a casual performance in front of just one person (who might even be in an adjoining room) can cause system failure. While we can never guarantee a performance is going to be trouble-free, we can build in enough safety features to prevent a little slip turning into a catastrophe. It’s not so much the amount of practice we do that makes us secure – although we should never skimp on preparation time or underestimate how long it will take us to fully assimilate a new piece – but the quality, breadth and depth of it. The intelligent pianist prepares for performance by focussing on five main areas: Background Research and Developing a Personal Narrative Researching the background of a work can only enhance our appreciation of the music. Knowledge of what was going on in the composer’s life at the time the work was written feeds the imagination and enriches our performance – and all it takes is a little research. Immersing ourself in the storyline or narrative we have allowed our imagination to conjure up, focussing on an image or scene (such as dancers dancing, a moonlit evening, a colour scheme) is so much […]

At the Noodle Bar: Practice Tips for a Chord Stream

I have just featured the hauntingly beautiful B minor Intermezzo of Brahms (from the op 119 set) in a series of video demonstrations for Trinity College London on their new piano syllabus. This work appears in the Grade 8 list and will pose some challenges to the candidates who choose to master it, mostly to do with finding the right sound. It’s the change of texture in the second section in D major that I am interested in today (at the end of the first system after the double bar). I am struck by how Brahms lays out the RH chords by first presenting the middle notes, tying them over and then adding the outer notes. Apart from supplying rhythmic flow this way of breaking the chords encourages us not to voice too brightly to the top but to find a chocolatey warmth and richness for our sound from the middle notes. Staggering the chord layout is of course a great way to practise any chord stream. Practising chords from the inside out and from the outside in helps us achieve superlative tonal and technical control. I have been doing this for years and my students find it works wonders for them. I have chosen just one short example to take to the noodle bar today, a tricky LH chord stream from the Ravel Sonatine (bars 54 and 55). Online Academy’s Study Edition I have published a study edition of Ravel’s Sonatine, available through the Online Academy. It features video clips demonstrating various features of the work, together with footnotes, video walkthroughs and score examples with exercises. I hope you will it a valuable resource as you practise this piece. For details, follow this link ***   ***   *** […]

The Girl with the Flaxen Hair

I am very happy to announce a new publication for the Online Academy – a study edition of Debussy’s Prelude La fille aux cheveux de lin (The Girl with the Flaxen Hair). This is among Debussy’s best-loved works for the piano, and a piece many pianists choose to play. Despite its apparent simplicity, this short 39-bar piece is actually deceptively difficult to bring off. My enhanced study edition aims to give practical solutions to the numerous problems in pedalling the work poses, together with fingerings and exercises that will make some of the more awkward passages much easier to manage. The study score contains comprehensive footnotes with text and musical examples; there are also short video clips you can view by scanning the QR codes with your phone as you practise. The title La fille aux cheveux de lin came from Leconte de Lisle’s poem by the same name, included in the Chansons ecossaises (Scottish Songs) from 1852. In this, the eighth piece from the first book of Préludes composed around 1910, Debussy is painting a picture of an innocent and naive Scottish girl. He uses conventional diatonic harmony blended in with pentatonic scales, modal cadences as well as parallel chord movement. As in all the preludes, the title comes at the end of the piece, in brackets. It is as though Debussy wanted the listener to form their own impressions of the music first – unencumbered by any preconceptions. Debussy’s own style of playing was based on simplicity; it was unmannered and free of rhythmic distortions. French music of this period requires a style of playing that is in general much cooler and more objective than Germanic music, for example. We should guard against romanticising the piece by not adding extra rubato – Debussy marks […]

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