1)
The first time you play your piece, or any
section of it, be fanatically careful not to make any mistakes either in notes
or in time values. “You learn what you
practice.” " Practice does not make perfect, only permanent."
2)
Sub-divide the piece into short sections. For the first few days of practice on a new
piece, repeat one section four to eight repetitions before beginning to
practice the next. When two sections
have been practiced in this way, they should be joined together and given two
to four repetitions this way. Special
“drills” are helpful, e.g. hands separately, in rhythms, etc.
3)
Occasionally begin your practice period by
beginning at the last section of the piece, then the next to last section, and
so on until you have reached the beginning.
“Spot practice breaks and divide your daily practice periods." Be on the watch for signs of staleness. This usually reveals itself through a lack of
interest in your piece, in the presence of more than the usual amount of
inaccuracy, or in rushing.
4)
Develop the habit of looking at yourself as an
ordinary human being. This means you set
for yourself neither absurd, impossible standards or work or achievement, nor
allow yourself to be satisfied with work which you know really could be and
ought to be better
5)
Liszt said, “Think ten times, and play once”
6)
Count bars (feel downbeats), not beats if your
playing is lacking in line and movement.
7) Set tempo, and feel the rhythm before starting
to play.
8) Listen for resonance, not noise, in loud
passages. Don't play louder,
9)
Don’t work against time. If you only have one hour at your disposal,
plan for 45-minutes of practice and do the most with each minute. If you attempt a plan for the whole hour, you
will have an eye on the clock, a nervous tension that may result in muscular
tension, and much of your mental energy will be wasted. “Surround every action with a circle of
non-hurry.”
10)
Play musically, even when sight-reading or playing scales, arpeggios, and chords. Always express something and never “just run
through.”
11)
Mark the beat with your other hand in a passage
that tends to rush. Especially at the beginning, when practicing one hand at a time, use the other hand to tap your rhythm.
12)
Think a piece through without any playing,
either with or without the music. Know
the underlying key scheme and modulations clearly.
13)
Every pianistic problem has both its origin and
solution in the music itself.♫
notes: Baylor University Summer Piano Institute 2004 - Dr. Keyes
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