Some nattering about work/life balance; 25/11 under tempo; a plan for 25/3; some improv.
At the end of a weekend of not much practicing, here’s the last Chopin 25/2 for a while; practicing 25/11 in groups; practicing anticipation in 25/3 and 25/5; a little bit of Saint-Saens; an improvisation with a tough goal.
Tools for focused practice; strategies for Chopin 25/11; a mediocre performance of 25/2; bits of 25/3 and 25/5; an attempt at improvisation (and a confession that I find improvising a little scary).
Specifically, a practice technique I learned here, and that I assign to my students this way:
Practice Recipe Week
In order to jump-start the fall semester, you will follow and notate a careful plan for your practice for one week, and show your notes to me at the end of the week. In most cases, you do not have to follow these guidelines for the rest of the semester, but you may find them helpful when you need to be extra disciplined. You will use the following guidelines, adapted from Burton Kaplan:
1. You will figure out exactly when you have time to practice and write it in your calendar for the week. Since it’s the first week, you are required to block out at least four hours every day.
2. For each day, you will plan your practice time for 80% of your allotted time; for example, if you have blocked out five hours, you will plan for four hours.
3. For that 80%, you will schedule your time PRECISELY, writing your schedule down. Your schedule might look like this:
10 minutes scales
10 minutes sight-read Beethoven slow movement
10 minutes tricky rhythm Beethoven p. 3, slow and then faster with metronome
15 minutes sixteenth notes Beethoven p. 2
15 minutes harmonic analysis of Beethoven first movement
10 minutes play through Beethoven first movement
10 minute play through Chopin under tempo
10 minutes play through Chopin and mark trouble spots
10 minutes Chopin run m. 48 figure out fingering
10 minutes Chopin run m. 90 with metronome slow then faster
10 minutes Chopin sixteenth notes pp. 3-4 in groups
20 minutes read through Bach p & fs (shopping)
20 minutes play through old Mozart and Debussy—sloppy ok but be musical!
10 minutes Bartok jumping chords p.2
10 minutes Bartok rest of p.2
12 minutes write out plan for tomorrow
4. As you practice, you will set a timer (your phone works fine) for each timed section minus five minutes. When your timer goes off, you re-set it for five minutes and finish up with what you’re doing. When it goes off again, you check off the item on your list and you STOP PRACTICING THAT THING. If you’re dying to practice it more, write it down at the bottom of your page.
5. You will write down exactly when you start and stop practicing. If you answer your phone, or go get a drink of water, or have a conversation with someone, or stop practicing for any reason, your timer stops.
6. You will probably find that at the end of your list, you’ve used up most of your allotted time. If you have any extra time, you can practice things you wanted to catch at the end, or practice something else, or just mess around on the piano, or stop practicing and go outside. You’re done.
7. Make sure that the last part of your scheduled practice is your time to write out tomorrow’s plan; that way when you start in the morning, you’ll know exactly what to do.
A performance of 25/2; a crash-through of 25/11; a minimalist improvisation based on one measure of 25/11; a special guest star gives an accurate picture of some of my practice.
A moment of demoralization; a small but welcome epiphany in 25/11; a “jazzy” version of 25/2, an improvised right hand for 25/2, and an attempt at 25/2 as written; a mostly f-minor-ish free improv.
Including 3 versions of 25/2: left hand alone, with an improvised right hand, and as written. Also a crash-through of 25/3 and bits of 25/11.
2 versus 3 in 25/2, 4 versus 6 in 25/11, anticipation in 25/3. Plus some fast animals by Saint-Saens.
A report from two weeks with almost no practicing in them; some music that’s not by Chopin (including Saint-Saens and a couple of teeny left hand studies); a realization about being on track.
Play-throughs of 10/4 and 10/8; 25/12 both simplified and as written, and a quick exploration of its structure; a brief cameo appearance from a special guest star.
A play-through of 10/4; some musings on death, love, literature, and living with purpose; a slightly-simplified version of 25/2; a few notes of 25/11; a homonym for 25/3.
