Thoughts on the difference between practice and rehearsal; the exact physical motions of 10/2 in way too much detail; a theory geek moment in 10/4; two promises about next week’s practice.
Archives for posts with tag: Etude
A small triumphant moment that proves these etudes are making me a better player; a resolution kept; grinding it out in 25/6, including a really nerdy plan; the state of 25/8, the danger of practicing 25/4 and 25/9 together.
Also, if you’re near the California Central Coast the weekend of February 12th, come hear me and say hello!
Report on New Year’s Resolutions; attempts at Chopin etudes 10/12, 25/1, 25/5, and a before version of 25/6 (with some yelling).
New Year’s Resolutions; a sloppy version of the Revolutionary etude; taking stock, with the first few measures of all the Chopin etudes I’ve worked on so far; run-throughs of 25/1, 25/5 and 25/6, with plans for them; ii-V-I patterns.
How getting angry helped the Winter Wind etude this week; 25/3 and 25/5 in progress; a short improv with lots of rests.
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.
In which:
A report on an informal house concert; why it’s hard to practice on vacation; last 10/7 before it goes on the shelf for a few weeks; early days in 10/11; the scariest measure in 10/10; beginning 10/8, and finding it strangely familiar.
Recorded March 19, 2011
In which:
Part of a “before” version of 10/10, including a momentary foray into theory geekdom; a slightly improved version of 10/11; just the sixteenths of 10/2; the danger in 25/12; a new strategy for 10/7; a quote from Schumann; why I find these etudes so challenging; cheating on Chopin with Mozart and Haydn.
Recorded March 5, 2011
Play It Again Swig 