Great advice; this is really the best advice anyone can give. In most pieces, there are easy passages and hard passages. We simply isolate the hard passages (we can tell right away with the score, passages with lots of notes, lots of fingerwork passages) and we deal with them first before we deal with other sections. Because with technically challenging sections, we have the technical challenges to deal with on top of memorization and musical challenges.
Something that worked wonders for me is starting from the end of a piece and working backwards. This way as you learn new sections it is then much easier to play them with the parts you have already learned. This way you aren't running into walls as constantly as you would be if you were to start from the beginning of a piece.
@@bananabanana2887 Not exactly, because the ends of classical pieces/movements very often recapitulate and quickly throw together all the main themes and musical ideas of the piece as a whole. From the beginning, generally a theme is introduced and then there is a bit of "filler material" until the next important theme is introduced, and so on. And in the middle or middle-later parts, composers often like to make things extra crazy, particularly the "development section" of a Classical musical template called "sonata form" (just giving you some terms for wikipedia research if you'd like to know more about these examples). So in that respect of the later parts of compositions usually being harder than the beginning half, if you start from the end then you can get the tough stuff out of the way sooner!
@@adamcolbertmusic oh no I’m well aware of all this I study music aha. From my perspective I prefer to learn the opening stuff as it is easier and it provides a framework for the recap (and even the cadenzas) - that’s just my view but both work!
I greatly enjoyed watching this video; one thing I would add onto your advice "Practice what you need" is really to concentrate on the most technically difficult sections and the sections you don't know well. Currently working on some Prokofiev and focusing on the tougher passages rather than the more playable ones. Every piece has easy and difficult passages; take the difficult ones first rather than playing from beginning to end. This is what improves the quality of one's playing greatly.
I never knew that I realize I'm doing this already: learn and memorize at the same time; practice what I need to practice; and my mind should be focus on the exact piece and present at the same time 100%. Marking down the score is really a good idea but when on performance, I need to memorize the piece for my complete 5 repertoire. It's something a habit from what you've said and it's requiring discipline for me xD. Thx
Thank you for the great tips! You mention that you memorize as you learn the piece. How do you go about doing this? Do you analyze the chordal progression, or does it more or less come naturally for you?
I memorize as I learn as well. The way I usually go about it is by listening and knowing the piece. If I know I’m going to begin working on a piece I listen to it played by different pianist for 1. Helping to memorize the piece before I even start learning. It makes it easier to memorize the notes if you know what’s coming next. 2. It helps with interpretation because I can hear how many different pianists play different passages!
I have a simple question: Is it bad to memorize? they say to a student shouldn't watch the hands when you play and watch the music sheet....but if you memorize the piece, you only see hands and the keys....which one is the right way? Whenever I memorize a piece, I don't have to see the score sheet, is it bad? Or is it ok to memorize, but watch and follow the music sheet just in case my memory fail.....what a piano player should do? Memorize, or play after the score?
Of course memorizing is not bad thing! It's great if you can do it. Being able to follow the score as you play is just as important. Memorization, reading or even sight reading are different skills and it's better if you are good at all of them :)
I think that what they mean is not to rely solely on muscle memory. Doing this would lead to unrefined and dull interpretations. Obviously, as long as you always remain conscious while playing (both in practice and performance), memorisation is essential.
@@f52_yeevy --- memory is not stored directly in the muscles but in the subconscious tape recorder --- so don't 'practice' mistakes --- Rach's advice... start learning a new piece Very Slowly --- Ignaz Friedman somehow rehearsed concert programs while reading a newspaper and had 'memorised' all his magic tricks, nothing spur of the moment there!
Hi Jasmine, thank you for your comment. I would personally work on fewer new works at a time before starting other new pieces, depending on how complex the pieces are. For me, it is easier to absorb new information faster this way. Hope this helps!
I often hear that i learn rather fast, but i still think that i'm guilty of practicing what i know too much. I split the pieces into digestible sections and then practice all of them until i learn the whole thing. Even if i feel that something is already easy for me, i still will go for up to 10 reps of that section every session. I lack confidence to skip those sections. I also have a bad habit, that i want to root out, of not practicing links between sections early enough, and that causes situations when i can play each section but i need more days to play the whole piece
Great advice; this is really the best advice anyone can give. In most pieces, there are easy passages and hard passages. We simply isolate the hard passages (we can tell right away with the score, passages with lots of notes, lots of fingerwork passages) and we deal with them first before we deal with other sections.
Because with technically challenging sections, we have the technical challenges to deal with on top of memorization and musical challenges.
As a pianist, you must have developed so much self discipline! I have tremendous respect for that!!! 💖👍👍👍
Something that worked wonders for me is starting from the end of a piece and working backwards. This way as you learn new sections it is then much easier to play them with the parts you have already learned. This way you aren't running into walls as constantly as you would be if you were to start from the beginning of a piece.
Surely it’s the same both ways?
@@bananabanana2887 Not exactly, because the ends of classical pieces/movements very often recapitulate and quickly throw together all the main themes and musical ideas of the piece as a whole. From the beginning, generally a theme is introduced and then there is a bit of "filler material" until the next important theme is introduced, and so on. And in the middle or middle-later parts, composers often like to make things extra crazy, particularly the "development section" of a Classical musical template called "sonata form" (just giving you some terms for wikipedia research if you'd like to know more about these examples). So in that respect of the later parts of compositions usually being harder than the beginning half, if you start from the end then you can get the tough stuff out of the way sooner!
@@adamcolbertmusic oh no I’m well aware of all this I study music aha. From my perspective I prefer to learn the opening stuff as it is easier and it provides a framework for the recap (and even the cadenzas) - that’s just my view but both work!
This is pretty good, I'm glad I found your channel
Thanks and glad you found it!
I greatly enjoyed watching this video; one thing I would add onto your advice "Practice what you need" is really to concentrate on the most technically difficult sections and the sections you don't know well.
Currently working on some Prokofiev and focusing on the tougher passages rather than the more playable ones. Every piece has easy and difficult passages; take the difficult ones first rather than playing from beginning to end.
This is what improves the quality of one's playing greatly.
Thank you for sharing, it is very helpful for me to practice new pieces
Thank you. Good tips.
I never knew that I realize I'm doing this already: learn and memorize at the same time; practice what I need to practice; and my mind should be focus on the exact piece and present at the same time 100%. Marking down the score is really a good idea but when on performance, I need to memorize the piece for my complete 5 repertoire. It's something a habit from what you've said and it's requiring discipline for me xD. Thx
Thank you sm! This video was exactly what I needed
This is excellent advice, thank you!
SOOOOO helpful! Thanx a lot!
Thank you for the great tips!
You mention that you memorize as you learn the piece. How do you go about doing this?
Do you analyze the chordal progression, or does it more or less come naturally for you?
I memorize as I learn as well. The way I usually go about it is by listening and knowing the piece. If I know I’m going to begin working on a piece I listen to it played by different pianist for 1. Helping to memorize the piece before I even start learning. It makes it easier to memorize the notes if you know what’s coming next. 2. It helps with interpretation because I can hear how many different pianists play different passages!
Hi these are helpful tips for me. What do you suggest to speed up playing?
I have a simple question: Is it bad to memorize? they say to a student shouldn't watch the hands when you play and watch the music sheet....but if you memorize the piece, you only see hands and the keys....which one is the right way?
Whenever I memorize a piece, I don't have to see the score sheet, is it bad? Or is it ok to memorize, but watch and follow the music sheet just in case my memory fail.....what a piano player should do? Memorize, or play after the score?
Of course memorizing is not bad thing! It's great if you can do it. Being able to follow the score as you play is just as important. Memorization, reading or even sight reading are different skills and it's better if you are good at all of them :)
@@88steps81 Thanks
I think that what they mean is not to rely solely on muscle memory. Doing this would lead to unrefined and dull interpretations. Obviously, as long as you always remain conscious while playing (both in practice and performance), memorisation is essential.
@@f52_yeevy --- memory is not stored directly in the muscles but in the subconscious tape recorder --- so don't 'practice' mistakes --- Rach's advice... start learning a new piece Very Slowly --- Ignaz Friedman somehow rehearsed concert programs while reading a newspaper and had 'memorised' all his magic tricks, nothing spur of the moment there!
Hi Thank you so much for your insight, do you think I can also rewrite/rearrange some of the spots on Bach Fugue?
Totally agree with you on conscious practising! Do you start working on five pieces at the same time or do you play one after another?
Hi Jasmine, thank you for your comment. I would personally work on fewer new works at a time before starting other new pieces, depending on how complex the pieces are. For me, it is easier to absorb new information faster this way. Hope this helps!
I often hear that i learn rather fast, but i still think that i'm guilty of practicing what i know too much. I split the pieces into digestible sections and then practice all of them until i learn the whole thing. Even if i feel that something is already easy for me, i still will go for up to 10 reps of that section every session. I lack confidence to skip those sections. I also have a bad habit, that i want to root out, of not practicing links between sections early enough, and that causes situations when i can play each section but i need more days to play the whole piece
我弹schumann Op.12 幻想小品集的第一首发现左右手打架的地方很多所以替换了左右手的音~可老师说那样虽然弹着顺手但是对tone 不好~所以我还是交叉着弹了~
請問老師的ipad是怎麼在譜上做記號呢？
我10歲，也想要試試看
你要下載一個app, 我用的是 ForScore.
好，謝謝