 I wrote this for an adult student preparing for her Royal Conservatory of Music Grade 3 exam. She is working on Clowns by Kabalevsky and needed a short etude to practice her mixed articulations. Passages with mixed articulations are common throughout piano literature. To utilize this etude for yourself, start very slowly. Eighth note = 60 BPM and work up from there. The video will help you along. Have fun. David
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This etude will help you practice the correct finger patterns for Royal Conservatory Level 1 and 2 techniques. I would play them slooooooowly; hands separately. A metronome is recommended. Things to notice: 1. The accents 2. The slurs 3. The dynamics 4. The fingering In the video I demonstrate the hand motions required. Have fun.
 This etude will help you to create a beautiful singing line in pieces with slow moving melodies. None of the notes are played with the fingers going up and down in the usual way, it is played all with the arm.
 To freshen up your technique and reengage your attention, try the following articulation and dynamic patterns. Remember technique is how musicians learn to control their instrument, build their interpretations, and execute beautifully.
1, Legato 2. Staccato 3. Legato in the right hand and staccato in the left. 4. Legato in the left hand and staccato in the right. 5. Crescendo to the middle and then diminuendo to the top. 6. Play one octave in quarter notes, then two octaves in 8ths, then three octaves in triplets, finally four octaves in 16th notes. 7. In contrary motion. This can be challenging when playing broken chords or arpeggios. 8. Scales played in formula patterns 9. Use a metronome, vary the tempo. 10. Play with your eyes closed! 11. Play with emotion. Check out last week's blog with Hilary Hahn for ideas. Playing your technique (scales, chords, and arpeggios) with emotion is an important part of learning to play well. These guys, with Hilary Hahn, will give you some fun pointers.
  This exercise will work on any instrument. You should vary the tempo of the metronome as your skills increase. Counting aloud is imperative. No counting in your head or mumbling. Speak boldly and clearly as you play. The first two measures are counted only. You begin playing in measure three.
Good luck Play your technique (scales, chords, and arpeggios) allegro and pianissimo or quickly and softly. The first challenge will be not to slow down or tense up. The second challenge will be to maintain an even tone.
If I can help you, please call me. David.  What do we gain by learning Jazz and Pop Standards by ear?
1. We acquire an intuitive understanding of jazz and pop rhythm. 2. We learn the feel of the music, which is something that can't be notated. 3. By playing along with recordings we learn to stay in place. 4. We learn how to solo by acquiring ideas (licks) that we can use in other pieces. 5. We learn how to play our instrument idiomatically by hearing it played in context. 6. We begin to appreciate the depth and scope of jazz and pop history and its eras and players. 7. We learn how to mess with a melody. A first step to soloing with finesse. "Learn the melody, mess with the melody, then mess with the mess" Louis Armstrong If I can help you on your journey, call me. David Revised August 2022  Sight-reading tips
Short story As a teenager I had the worst practicing habits. I had no focus or commitment to any task except sightreading, which was fun and easy. I loved spending hours reading my mother's piano books, so it is no coincidence that I've spent the last 45 years making a living as a sight-reader. First as a professional pianist and later as a teacher. Eventually though, I did get my practice habits straightened out and the rest is history. David Revised August 2022 This will help you learn the diatonic chords of E major. Watch the crossover with the left hand and the change of clef in measure 11. The left-hand fingering is 531; the right-hand is 135. Revised August 2022  
 I'm always trying out new ideas with students to keep it fresh for us both. This warm-up assumes you know the correct fingerings for each position. (The right scale at the 10th starts with 31234 etc. The broken chords and arpeggios in the right start with finger 1.) This exercise should be transposed into a different key at each practice session. Tempo markings are only suggestions. If I can help you, call me. David Revised August 2022
Playing the piano is much easier when the scales and chords have become automatic in our hands. Below is the fingering chart for all 3 note chords like C major and G minor. Another name for a 3-note chord is a "triad". I've cropped this image from a student's notes. If I can help you, call me. David  How to play fast comes up in lessons frequently. Here are some ideas to get you started.
Let's get the basics out of the way first.
Now some often-overlooked facets of quick playing.
If I can help you, call me. David  Steps to successDay One
1. Dust off the metronome. 2. Set it at 60. Also known as 60 BPM (Beats per minute) 3. Practice counting aloud to the metronome: 1-2-3-4, one number per click. 4. Continue counting aloud and clap measures 1 to 9. 5. Continue counting aloud and play the right-hand notes measures 1 to 9. Counting aloud is the imperative step for success. 6. Add the left hand and repeat measures 1 to 9. 7. Move the metronome to 70 BPM and repeat the passage. 8. Call it a day. Day Two 1. Repeat yesterday's steps with the whole notes at 80 BPM. 2. Reset the metronome to 60. 3. Practice counting aloud to the metronome: 1-2-3-4 one number per click. 4. Continue counting aloud and clap measures 10 to 14. 5. Continue counting aloud and play the right-hand notes measures 10 to 14. Counting aloud is imperative for success. 6. Add the left hand and repeat measures 10 to 14. 7. Move the metronome to 70 BPM and repeat the passage. 8. Call it a day. Day Three 1. Repeat yesterday's steps with the half notes at 80 BPM. 2. Reset the metronome to 60. 3. Practice counting aloud to the metronome: 1-2-3-4 one number per click. 4. Continue counting aloud and clap measures 15 through 18. 5. Continue counting aloud and play the right-hand notes measures 15 through 18. Counting aloud is imperative for success. 6. Add the left hand and repeat measures 15 through 18. 7. Move the metronome to 70 BPM and repeat the passage. 8. Stop for the day. Day Four 1. You know what to do. If I can help you learn to count aloud while playing, call me. David Revised August 2022 Why use a metronome?
How to use the metronome.
If I can help you learn to count, call me. David Revised August 2022 Janice Legere, a long-time student, played her scales like this today. I approve. David   This is a simple concept that can be difficult to execute. When the melody goes up crescendo. When the melody goes diminuendo. The change will be small unless the composer indicates otherwise. Exceptions are clearly marked in the score. The last note in a melody before a rest, in Classical music, is played gently unless the composer indicates otherwise. The last note in a melody before a rest, in Jazz music, is played strongly unless the composer indicates otherwise. Please check out the following recording. If I can help you, call me. David Revised August 2022
Sight-readings skills make all aspects of piano study and performance easier.
If I can help you, call me. David Revised August 2022  Everyone understands that the piano is played with the fingers. But not all students understand the role of the wrists, arms, and shoulders in piano playing. These techniques create a kaleidoscope of colour in our playing, and it helps reduce our chances of injury. I wish my early teachers had spent more time on this when I was a kid. My ignorance of these techniques lead to significant arm injury in my late twenties. At age thirty I began relearning the piano with Donald Himes. It took 15 years. Modern piano teaching methods introduce each of these techniques at the appropriate moment. Here is a partial list of techniques. They be observed in the playing of fine pianists. Here is a partial list.
I use some of these techniques in the following video. If you would like help, call me. David Story Donald Himes: Music director/composer for the Mr. Dress-up show CBC. He played from the 1st show to the last. A fine pianist, great teacher and avid Francophile. Revised August 2022 You may sound more confident by simply playing louder. Try 10% louder to start. see what reaction your playing has on listeners. Another take on fake it to 'til you make it. Secondly, crescendo when the melody rises and diminuendo when it falls, unless the composition or arrangement says otherwise. This should help remove some of the timidity in your playing. Have fun. David Revised August 2022  Breakfast piano minute: An fantasy on an Austrian Folk Song from a slightly disheveled pianist.Errors give feedback. Some errors are obvious, some are in disguise, and some are hidden from us.
One of the most effective way of dealing with errors of execution is to step back and listen to your practice recording making notes of errors, misinterpretation, and omissions. Then consider the following.
The picture above is from a book I highly recommend called "The Musician's Way", Best, David Revised October 2022 Listening to an unfamiliar piece of music can be pleasurable, baffling or even annoying. Here are some steps to consider making it a deeper experience.
 A wise teacher said, “we are who we listen to”. Another slightly more jaded teacher asserted that all students want to play want they hear in their heads. And unfortunately, they already do. Ouch
Building your repertoire of sound possibilities come from repeated listening to the same tracks over an extended period. How much time? Until you find yourself humming along. Try this:
Happy listening. David PS: as you can see the screen shot above shows a combination of younger and legacy players. |
You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail. AuthorI'm a professional pianist and music educator in West Toronto Ontario. I'm also a devoted percussionist and drum teacher. Categories
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