1. What is the difference between learning and practicing?
2. What claim does the writer make about the connection between happiness and growth? 
3. Make a list of his "how to get better by practicing less." tips. For example, how does he recommend structuring your time on the piano bench?

Note: I would take some time practicing sight reading; the skill that makes it possible to play easy pieces without practicing!

1. What is the purpose of practice?
2. What happens in our brain when we practice?
3. What is meant by the "edge of our abilities?"
4. What is visualisation in practice?

I take lessons and play in several musical groups. Only one group needs serious practice of specific pieces outside of rehearsals. However, all the groups are populated with active and retired professional musicians, like me, who expect that I will show up ready to play. Furthermore, the teacher I work with expects me to show up prepared. 

Some weeks I'm given a dozen pieces to learn. This is how I manage.
​
I divide the pieces into two piles. The first pile consists of the pieces I can sightread. I never practice these. The second pile is divided into two further piles: the easy pile which consists of pieces that have passages that need the once over and the difficult pile that causes panic. I quickly dispatch the easy pile. In preparation for tackling the difficult pieces I repeatably listen to professional recordings of the pieces to have a clear aural understanding of the part. 

I then tackle the difficult stuff as follows. 

1. I work out the physical moves (fingerings) needed.
2. I practice so slowly that mistakes are rare.
3. I use a metronome.
4. I practice in small chunks.
5. I let the tempo on the metronome creep up slowly as I get more secure with the passage. 
6. I record the chunks and listen back. 
7. I never repeat a chunk without knowing why I'm repeating it. 
8. From the first reading I honour the dynamics. 
9. If necessary, I count aloud with the metronome keeping time. 
10. I'm patient. 

Because I've prepared properly my heart is not conflicted. I'm at peace with whatever happens because I have done all that is humanly possible. However, sometimes, life gets in the way, and I will show up less than prepared. Then the banked musical skills of half a century kick in. You may not have half a century of experience to lean into, but as time goes by you will.

If I can help you learn to practice, call me. 

​David
Revised 2024

Mastering rhythm counting is a fundamental skill in music reading. This includes counting out loud, clapping, practicing with a metronome, among other techniques. Presented below are my preparatory methods and practice strategies for a recent performance with the Metropolitan Silver Band in Toronto, where I serve as the drummer.

Please note that even seasoned musicians engage in counting and annotating their music.

David
Revised 2024

How to use Play Along Tracks
 
Play along tracks are band recordings of jazz, blues, and pop songs minus the melody. You supply the melody when playing along. Here are some tips to get the most from the experience.

1. Play hands separately. When you play the melody alone, do not pedal.
2. When playing the left-hand chords alone use the pedal if the song is slow, otherwise don’t.
3. If the track is too fast, slow it down in the app. YouTube videos can be slowed in settings.  To access settings, click on the “star” or “gear” on the screen. See the illustration below.
4. Once you can play comfortably with the track, begin playing with full recordings on YouTube. It will be you and Louis Armstrong. Begin to mimic what you hear. Especially, the melody.
5. If the recording is in another key, transpose your piano. Or, even better, play by ear in the new key.
6. In the app iReal Pro, change the style of accompaniment.

 
Apps for playing along.

YouTube: (126) misty play along - YouTube
iReal Pro: iReal Pro - Practice Made Perfect
Band in the box: PG Music - Band-in-a-Box.com (bandinabox.com)
 
If I can help you further, call me.
 
David

Seven steps to learning a new piece of piano music.

1. Translate all the musical terms and write them in your score. These Italian terms tell you how to play the piece because they indicate tempo, mood, and attitude.
2. Locate three professional YouTube recordings of your new work. Play them in turn; make notes on how each musician interprets the score and musical terms from step one. If you can see their hands, note the gestures they use to interpret the score. (I write down what I hear and see directly in my scores.)
3. Using a slow metronome tempo, clap and count aloud any tricky rhythms you find.
4. If the music is complex, write in the fingering, measure by measure, hand by hand. The editor’s markings are often a good place to start. You just fill in the missing finger numbers. Experiment and carefully consider your choices. This will accomplish two things. One, you will be practicing slowly and consciously, hand by hand, chunk by chunk. Two, you will have time to play musically from the start because you will have time to consider the dynamics or articulations. Concurrently with the writing in the fingerings, consider the gestures needed to interpret the music. These might include fingers, rotation, drop, two note slurs, and other motions. If you are unclear about which gestures to use, call me. I will show you how, with the proper gestures, the composer's intentions are easier to realize.
5. After the initial consideration you gave to the fingering, dynamics, and articulations you are now ready to play with steadier time. Continue to count aloud, with a metronome, if you are having trouble with the rhythm. Don’t hesitate to work on your hands separately.
6. You now have a secure foundation to begin practicing in earnest. You have an artistic impression of the work, you’ve worked out the fingering, dynamics, articulations, and necessary hand gestures to interpret the music.

​If I can help you further, call me.
 
David
Revised 2024

A Royal Conservatory piano student's goal,
Is mastering the art of playing with control.

Begin with scales and arpeggios in hand,
To warm up fingers and help you understand.

Next, pieces chosen with purpose and care,
Played often, so the music's easy to bear.

Technical studies such as Hanon or Czerny,
Can help you play with dexterity so cleanly.

Sight-reading and ear training are quite a treat,
To build essential skills and make progress sweet.

Choose challenging repertoire to extend,
Your capabilities, and become a true friend.

Lastly, review and refine what you've learned,
So your piano skills will be well-earned.

A Royal Conservatory piano student's way,
​Is to practice each week, with dedication and play.

William.

How should I practice piano?

To practice piano effectively, here are some steps you can follow:

1. Set clear goals: Determine what you want to achieve with your piano practice, whether it's to learn a specific piece, improve your technique, or develop your theory skills.
2. Warm up: Start with simple exercises to warm up your hands and get in the right mindset for practice.
3. Practice consistently: Make a schedule and stick to it. Consistency is key to making progress on the piano.
4. Focus on technique: Pay attention to your hand position, finger placement, and arm movements. Make sure you're using proper technique to prevent injury and improve your sound.
5. Use different resources: In addition to practicing with sheet music, use educational books, videos, and online resources to supplement your practice.
6. Pay attention to detail: Slow down and focus on individual phrases and sections, paying attention to details like dynamics and phrasing.
7. Review and reflect: Regularly review what you've learned and think about what you need to work on next. This will help you stay motivated and make steady progress.

Have fun: Finally, make sure to enjoy the process! Playing the piano should be a source of joy and fulfillment, not stress and frustration.

----------------------------

Not bad. However, recording yourself is missing. 

David

What to practice, how to practice, how much to practice, when to practice can be sources of anxiety to students preparing for a piano exam. To succeed one must spend time on each area of study.

1. Repertoire
2. Etudes
3. Theory
4. Sightreading
5. Technique
6. Ear Training.

This short blog focuses on working at the piano. 

Try dividing up your time on the piano bench as indicated in the drawing; give equal time to each area. Now if you are like me, your attention span is long as a puppy's. No worries, jump around. But keep track of your time in each area. 

1. Technique includes the assigned scales, chords, arpeggios, and etudes. Remember to use your metronome!
2. Sightreading includes rhythmic as well as written exercises from your "Four Star" books. 
3. Review at least one piece of completed repertoire. I suggest reviewing a different piece in every practice session to keep your repertoire performance ready.
4. New work, the heart of practice. Remember to listen to a professional recording before starting. We all need a fresh impression before beginning. Try to fix at least one passage in each practice session. 

Good luck

David 

Mimic the melody, as interpreted by each recording below. Chords will come later. 

Why do we practice slow to go fast?

We all play like we practice. If we practice carefully, thoughtfully, and methodically our odds of playing expressively, confidently, and at a steady tempo go up significantly. 

Let's consider one aspect of this: Slow practice.

1. Slow allows us to consider our motions at the piano.
2. Slow allows us to play steadier while learning. Remember playing quickly and stumbling about may make our stumbling get embedded in our playing. 
3. Speeding up bit by bit, as our skills increase, the scales, chords, arpeggios, etudes, and pieces is a good strategy. 
4. To play fast eventually we will have to practice fast. It is good practice to have our musical moves together before sprinting through the music. 

David
revised August 2022

Some days and weeks are going to be difficult. Life will get in the way. Here are some suggestions I gave one adult beginner to help relieve his practice room blues. 

1. Start on a high note by playing pieces you know. Reviewing old favorites is good for the soul.
2. Next play your assigned scales five times each.
3. Review your assigned chords five times each.
4. Mess around on your DAW.
5. Work on 4 measures of your new piece. Clap the rhythm while counting aloud, then play hands separately, then hands together. Record yourself, listen back. Repeat as needed. Stick with it until the short section of music is completed and secure. Remember to start slowly.
6. Finish with a favorite piece. 

If I can help you, call me. 

David

Revised August 2022

One of my adult students was asking tonight for some help planning his practice time. He is preparing for his Grade 8 piano exam. He is an engineer, a spreadsheet kind of guy. I'm sympathetic. Here is what we discussed. 
 
Warmup with sight reading. Use a metronome! Get into the zone.
 
Now start practicing
 
Technique with a 2-minute timer. Switch activities every 2 minutes = 15 minutes

• 1 scale
• 1 tonic chord played solid and broken
• V7 chord solid and broken
• I and V7 arpeggio

Practice one short section to perfection =15 minutes

Theory =10 minutes

Ear Training = 10 minutes

Review completed piece or pieces 10 minutes 

BOOM! one hour of accomplishment

This may work for you. 
​
David

Revised August 2022

Please excuse this short story in which I’m the hero.

I’m learning to play the jazz xylophone. I started at Christmas 2021. I practice every day with my 100-year-old textbook, a stack of tunes that I want to learn, my video recorder and oodles of desire. Here is the process I usually follow.

1. I have all my materials ready at hand.
2. I decide on the goal of today’s practice. The goal is rarely more than a single minute of music. In other words, I don’t try to practice everything.
3. I start the video recorder.
4. I start slow and work out the stickings.
5. I experiment with the stickings, dynamics, phrasing, licks, rolls etc.
6. I slowly speed up the repetitions.
7. I try out another set of approaches.
8. I occasionally bang the sticks in frustration.
9. I keep at it until I’ve got something I’m proud to post online.
10. I’m done for the day.

The video below is an unedited version. Notice it took just a brief period of time to accomplish something because I didn’t try to do everything at once.
 
David
Revised August 2022

Musicians have a number of tactics to memorise their music for exams. 

1. Muscle memory from brute force. This method is immensely popular with beginners. Their main strategy is to repeat the piece until they've got it. The drawback is that they are relying on luck that nothing goes wrong. Some problems can be mitigated if the students practice from various points within the piece. That way they can jump to one of those points if something goes awry. I used this technique to rescue myself at my grade 10 piano exam in Bach's prelude and fugue in F# WTC Book 1.
2. Photographic and visual memory. Seeing the musical score and instrument pathways. Try writing out the piece from memory. I've memorised many jazz lead sheets in this manner. I "see" the score in my head. I can also write them out from memory for students. 
3. Analytical memory. Theory, understanding the relationships between the notes, chords, cadences, and form. This is the most secure memory aid. With analytical skills you understand the relationships between the notes, the form, the style etc. For example, in RCM grade 3 we find Sonatina in C by Clementi op. 36 no. 1. Here is my recollection of the piece. 
   1. ​It is in C major. 
   2. It is written in the classical style.
   3. It is quick.
   4. It is in sonata form. The exposition in C and modulates to the dominant key with a statement of the G major scale. The first theme riffs on the tonic chord. The development goes to c minor and further explores the theme. The dominant preparation is 4 measures long. The recapitulation is in C. The second theme group from the exposition stays in the tonic key. I could go on. 
4. ​Kinesthetic memory is how it feels in the hands. This is a form of body awareness. 
5. Aural memory. How it sounds. I can sing the entire sonata of Clementi. Therefore, this auditory impression will guide my playing. 

If I can help you memorise your music, call me.

​David.
​

I found it extremely helpful over the holidays to practice with a video camera recording my progress or lack thereof. I played for 5 minutes and watched for 5 minutes. The camera was positioned so that the keyboard of the xylophone was visible. I was able to see and hear what was working and what was not and then adjust my next repetition accordingly. Video helped me to close the gap between how I thought I sounded and how I actually sounded. 

If I can help you, call me. 

​David
Revised August 2022

The above is the final take in ten takes over 20 minutes. 

1. Theory
2. History
3. Ear training

These three are the most neglected aspects of music study.

Theory
Skilled musicians see harmonic, rythmic, and structural patterns in the music, beginners see a string of notes. The purpose of theory study is to help us to see and understand these patterns and their significance, which over time, leads to artistry. As a former teacher put it, "understanding what you are seeing makes everything easier."  

​History
Different eras of music sound different. When you understand the broad outline of music history, you will have informed knowledge on the interpretation of the piece. 

Ear Training
Ear training is a wide set of skills:

• interval recognition
• chord recognition
• melodic playback and jazz licks
• chord progressions
• rhythmic clapback
• Instrument identification
• counting measures
• sight singing
• scoring what we hear

​Some folks have it easier here than others, but I can confidently say that as a kid I started with a tin-ear, but over time, with practice I developed a high degree of skill. 

I can help you too. 

Call me. 

David
Revised August 2022

Practice time is precious because of the myriad demands for our attention. Wasting it by messing around is counterproductive to our success. One illuminating solution, for more productive practice, is to know how we spend our time practicing. Do we carefully plan out our activities or do we run willy-nilly in all directions? It has been claimed that 90% of young music students play a piece through once, not even stopping to correct mistakes. Here is a way to find out where you stand. At your next practice record yourself on your phone. Later in the day listen back and ask yourself:

1. How did I spend my time?
2. How focused and methodical was I?
3. How did I sound?
4. What did I accomplish?
5. Did I meet my preplanned goal?

For more on practice habits, as observed in the wild, check this out: 
(Http://www.escom.org/proceedings/ICMPC2000/Sun/McPherso.htm)

If I can help you manage your time, call me.
David
Revised September 2022

Self-assessment is difficult because our minds play tricks on us. For more of the science of the dangers of self-assessment Google “Dunning-Kruger effect”.

There are several tactics students can employ to overcome or at least minimize the “Dunning-Kruger effect”.

1. Many students find that recording themselves playing is difficult. I understand but they need to push through the resistance. It is the best self-assessment tool that students have between lessons.
2. Take lessons, professional feedback is priceless. (I took sporadic lessons after university, then at age 42 I began regular lessons. That’s now twenty un-broken years of insights and feedback from my teachers/coaches.)

If you’d like some feedback, please call me.
​
David
Revised September 2022

These ten activities will simplify the process of learning a new piece of music. 
​

1. Listen to a professional recording while following the score. It is much simpler to play a score when you know what it is supposed to sound like.   “How do I get the sound in my head out of these black dots” is much easier than, “I wonder what this sounds like?” Notice the deviations from the score that the professionals present. Mark in any nuances with dynamics and phrasing you might hear. The music is not fully represented by the notation.
2. Observe the fingering suggestions in your score. I would only change the fingering in the case of obvious error or small hands.
3. Practice slowly at first.
4. If the rhythms are difficult. Clap and count aloud those passages.
5. Explore the score further by marking the form and cadences. Notice how the professionals play the cadences. You will want to do the same. If this step is new to you call me, I can help.
6. Practice with dynamics from the first reading. That way you avoid having to relearn the piece later. In my experience as a piano examiner, under stress candidates will abandon the dynamic plan and resort to their pre-dynamic performance. I know this because I often had the teachers' score in front of me. Dynamics in the scores were brightly underlined, highlighted, and punctuated coast to coast. The more frantic and emphatic the marking was, the less chance the candidate would execute them.
7. Practice in small chunks. That is phrase by phrase, or if the passage is particularly difficult, measure by measure. Consider:
   1. Fingering
   2. The required movement to realize your artistic impression: slur gestures, arm weight, rotation, and so on.
   3. Dynamics
   4. Balance
   5. Flow
8. Record yourself. Many students will find this uncomfortable. I say fight the resistance. The feedback one gets from hearing immediately of your progress or lack thereof will save you years of wasted effort. 
9. Take breaks. My attention span is short, yours is likely to be short too. So, prepare several activities when practicing.
   1. Practice the scales and chords required for your piece.
   2. Listen some more to the recordings.
   3. Jump back in.

If I can help, call me.
 
David
Revised September 2022

I practice piano and drums daily, except Sundays when I rest. Recently my student Barb asked me, "how do you practice?" Here is my answer. 

1. I prepare to practice. My music and instruments are at hand and ready to go. As is my metronome, recordings, audio recorder, and pencils.
2. If the piece is new, I listen to the reference recording before commencing.
3. I plan out how I will play the piece. I consider fingering, dynamics, articulations, and the appropriate motions required to realize my artistic vision.
4. I warm up and stretch. (Students should warm up with scales and chords played gently and rhythmically with a metronome.)
5. I usually work with a metronome when playing jazz, but only occasionally if I'm working on my classical piano skills. However, I use it all the time if I’m on the drum kit.
6. I record myself as I practice. First, it helps keep me honest. Second, it helps me decide what and why I'm repeating the passage in question.
7. I practice piano technique and drum rudiments because technique is like muscles; it must be maintained.
8. When I listen to music, I ask myself, “what’s going on here?” I often write out what I hear going on. To date I have transcribed 100+ drum pieces alone. And over a four decade plus career, I transcribed countless jazz, and pop piano excerpts. 
9. When learning a new piece, I practice slowly with dynamics and articulations in place. I don’t add these later after "I've got the notes".
10. I’m patient because I trust the process. 

Have Fun. 
​
David Story
Revised October 2022

Here are some of the things I’m considering in a post-pandemic world. It may be helpful for your situation too.

1. I’ve rethought my priorities as not all activities were missed during the lockdowns. The pandemic gave me an excuse to move on.
2. As always, when I planned my teaching schedule, I blocked out my practice and study time then I booked my students.
3. I will continue my own music studies online thus saving a few hours a week of travel time.

​Best regards,
 
David
Revised October 2022

Preplanning shortens the time needed to "learn" a piece of music. I start, if I can, by listening to several professional performances. Some of the marks on the score reflect what I heard in a particular performance and other marks are a result of my own deliberations. As I revise this blog, I regret that I didn't mark down what was what and from whom. 

Planning an interpretation

1. Mark the phrases and label the cadences
2. Mark the form
3. Explore phrasing options
4. Select the gestures
5. Practice the gestures

This preparation helps a musician have a clear idea of the result before they commence practicing. 

​David
Revised October 2022

My top five tips for practicing any musical instrument:
​

1. Have everything organized and ready at hand before you begin: music books, teacher’s notes, metronome, audio recorder, YouTube, and a pencil and eraser. 
2. Warm up your body with gentle stretching followed by playing slow scales before you jump in at full speed because piano injury is a real thing.
3. Before attempting a new piece I suggest you listen to the music professionally performed and mark up the scores by asking, “What’s going on here?” I mark in the articulations, tempo choices, phrasing and dynamic plans created by professional pianists and compare to the score I have in hand. 
4. Record yourself practicing helps to check your progress.
5. The auxiliary studies of ear training, theory, sight-reading, score analysis, history, and harmony, are all important keys to your eventual musical success. 
6. Bonus tip: Find a supportive group of fellow students to hang out with, either in person or on-line, because being part of a community is helpful for encouragement and commiseration. 

Playing

• Reviewing a piece(s) from your repertoire list will help with its retention.
• Now begin your assigned lesson homework.

Listening to Classical Piano 

• Form analysis: What is the structure of your piece? Is it in a Baroque dance form, sonata form, or rondo. With a little research you can discover the answer. Musical form - Wikipedia
• Watch YouTube videos of professional performances of your repertoire and related pieces in the same genre or style because deep listening is a form of practicing.
• Listen to music appreciation lectures. Suggested materials might include something from The Great Courses.

Ear training

• Learning to play melodies in different keys. Work up to complete pieces in new keys. However, start simply with Jingle Bells or Ode to Joy and work up from there.
• “What’s going on here?” Mark in the articulations and dynamic plans created by professional pianists and compare. This is so important; I've listed it twice.
• Suggested materials: Perfect ear App, Music Theory Pro and RCM online ear training. 

Classical Music History

• Reading about Classical music history, composer biographies, and watching  recordings with scores on YouTube is a fruitful use of your time.  

 

Theory

• Key signatures, intervals, transposition, scale/chord construction.
• Suggested materials: Music Theory Pro, Alfred’s essential music theory and RCM theory books are good. It all depends on where you are starting though, so ask me for a recommendation based on my assessment of your knowledge.

Sight reading

• This is a key activity for maintaining your joy at the keyboard: Playing for fun. 
• Clapping rhythms with a metronome.
• If you play at level 6 (grade 6) sight read at level 4 or lower. Other options include RCM sight reading books or the free 1st page of music from www.musicnotes.com . Again, it all depends on where you are starting. You can ask me for a recommendation.

 Piano Technique

• Scales, chords, and arpeggios are the basic structural vocabulary of the piano. 
• The RCM syllabus has good technique lists. Conservatory Canada has even better lists.  

If you would like help, call me. 

​David

Revised March 2023