Play piano as fast as possible! - music
One of the rules of committed we all hear over and over is "Be sure to attempt slowly. " (I'm guilty of this too!) Often the consequence of this is a affection of inhibition, which leads to tedium. Consider physically full with excitement and hunger in background out to learn a new piece. Out of the blue a voice from the darkness whispers: "Don't touch those keys! Sit erect, play slowly, stay exactingly in time, watch that fingering. . . " and your smile is gone. I'm creation to feel a cramp just conversation about it.
The fact is, a a variety of quantity of slow apply and awareness to small scale conscript is categorically necessary. But there is a touch deficient in the approximate so many of us have taken; we set out to make music, and end up live what amounts to no more than a chain of sterile exercises.
How can we overcome this problem?
First of all, it's central to bear in mind that music comes to life all through shading, dynamics, differences in touch, the shapes of its phrases, the cadenced energy that is so much a part of the right tempo. These qualities are all gone in a slow, rigid "practice" edition of a piece. They are just as chief as accurate fingering, and they don't come diagonally exclusive of assiduous work.
So, conceivably we be supposed to adjustment that rule from "Be sure to carry out slowly" to "Practice as fast as possible. " But Wait! This requires some advance discussion. The slow part of custom helps teach the fingers where to go, and makes it mush easier to learn the work. But in order to learn how to construct music, how to make the piece sing-we must carry out it at a tempo that will help bring to light musical relationships and subtleties of form.
Pianists must have the opening to experimentation with touch and phrasing while practicing, and there is diminutive accidental of boredom when so many exciting essentials are introduced to the custom session.
In my E-book, I've built-in many basic exercises with conditions music to assist you in acquiring this level of baby grand performance. In other words, you will be committed with other instrumentalists. You will hear the drums, bass and an inconspicuous piano auxiliary that provides a vocal blanket for YOU to custom your choice material!
Ideally, then, both ways of enthusiastic ought to be used!
First, we be supposed to attempt gradually a sufficient amount to learn the notes and fingerings. Then, we ought to "practice as fast as possible"; that is, as fast as we can lacking bringing up the rear be in command of of the basics we educated in slow practice.
Here' how this would work. Take a short part of the piece; you might decide a four- or eight-measure phrase. Carry out it slowly. When you feel comfortable with the music, amplify the tempo. Don't wait until you've adept the full work slowly. In this way, at each meeting you'll get to learn a barely section, bring it up to tempo, and feel into what is desirable to bring it to life.
At the next sitting, work on the next four or eight measure. When you have that divide up brought up to tempo, association it with the first section. Now, you will begin to appreciate how the phrases communicate to each other. You can bring in the idea of dynamic shading and come to a decision which lines to bring out at a given moment. In fact, you will be assembly real, exciting music-even ahead of you've educated the whole piece!
As you go on in this way, you will almost certainly alter your mind about how to play the work as new sections are added. This is part of the course of discovery and experimentation. Concert artists are continually re-interpreting, as they think about these rudiments all the time.
So play as at a snail's pace as you need to; but as fast as you are able!
I wish you the best of success.
Ron Worthy http://www. mrronsmusic. com/playpiano. htm
Copyright 2005 RAW Productions
Ron Admirable is a Music Educator, Songwriter and Performer. He provides online piano directive for all ages at: http://www. mrronsmusic. com/playpiano. htm
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