Tuesday, December 5, 2006

Greatness depends on . . .

by Kevin Coan, who posted this on the Yahoo Piano Teachers discussion board:

A very extensive study was released recently that demonstrates, beyond any shadow of a doubt, that natural talent has almost nothing to do with being great at anything. Certain factors, of course, would prevent a person from becoming great at a particular endeavor. A blind person cannot become a great racecar driver, and a person with missing fingers cannot become a great pianist. However, research shows that there is no such thing as a born athlete or a born musician.


If that is true, what factors DO influence a person's success? The answer is so simple that most of us miss it: a willingness to work hard, and a willingness to strive for improvement! Let us take these concepts and apply them to the piano.


A successful pianist is willing to work hard at becoming great. There is no substitute for putting in practice time. A weekly lesson of thirty to sixty minutes is not sufficient to enable the student to master the many fine motor skills needed to be a good pianist. The student who merely puts in a few minutes here and there will never be good as a musician. The great musician puts in several hours every week in serious practice.


A successful pianist is willing to do everything he or she can to learn as much as possible about music and piano. Rather than looking at the theory and writing assignments as an annoyance, the great piano student wants to read more, study more, and do more exercises until he or she becomes perfect in the principles of music.


A successful pianist masters the fundamental skills of playing. Just as an athlete is willing to spend time every day in the gym doing bench presses and squats, the pianist must spend time daily practicing scales, arpeggios, and finger exercises.


A successful pianist practices with PURPOSE. It is not enough just to repeat a piece over and over. Each time the good student plays a piece, he focuses on something he is going to do BETTER on this repetition. For example, one time he might focus on making the staccatos crisper and the phrases cleaner. The second time, he might focus on the dynamics and expression. One day, he might spend the entire practice session getting the piece up to tempo.
A successful pianist becomes personally and passionately involved in his pieces. If the piece is about snowflakes, he seeks to make the notes sound like snow falling ever so gently from the sky. If the piece is about a battle, he plays the music with such force that the audience feels like they are personally being shot. If the piece is a waltz, the good pianist waltzes in his heart while playing the music.


A successful pianist takes the elements of the music he is learning and makes them his own. He is creative with the way he expresses himself. He creates his own variations on the music, and he tries playing the piece in different styles. He also creates new music of his own, taking the best of the elements he has been exposed to and combining them in new and exciting ways.


Most importantly, the great pianist INTENDS to become great. A person must WANT to be good, and he must be willing to devote concentrated attention to becoming good. Greatness never happens by accident. It only happens when the great person MAKES it happen!

Thursday, June 8, 2006

Why DO - RE - MI?

Paolo Diacono wrote a hymn to Saint John the Baptist (ca 720 - 799), the Latin words Ut queant laxis, resonare fibris, mira gestorum, famuli tuorum, solve polluti, labii reatum, which translate to, "So that Your servants may sing at the top of their voices the wonders of Your Acts, and absolve the fault from their stained lips."
1. UT - Queant Laxis

2. RE - Sonare Fibris
3. MI - Ra Gestorum
4. FA - Muli Tuorum
5. SOL - Ve Polluti
6. LA - 0 Biireatum
Using the syllables ut, re, mi, fa, sol, and la as names for the six tones, C to A, an Italian monk named Guido d'Arezzo (990-1050) created the system of Solmization, a system of using syllables, especially sol-fa like syllables, to represent the tones of the scale (known as the Guido System). Later in history Ut was replaced by the more easily singable Do, and another syllable, si or ti, was added at the end, giving the scale of seven syllables called do-re-mi-fa-sol-la-ti, which forms the present basic system of singing names for the tones of the scale. The syllable sol was later shortened to so, making all of the syllables uniform in spelling and all ending with a vowel. This allowed for ease of remembering for faster learning and making it easy to do 'sight singing', or being able to instantly sing new music in tune from reproduced standardized sheet music.

Friday, May 19, 2006

Having trouble with memory?

Consistently do these steps and you'll get those last few pieces memorized: Only try to memorize 4 measures at a time. In those 4 measures follow this process:
1 Play RH with music 5 times.
2. Play RH from memory 5 times.
3 Play LH with music 5 times.
4 Play LH from memory 5 times.
5 Play HANDS TOGETHER with music 5 times.
6 Play HANDS TOGETHER from memory 5 times.
7 Then do the whole process with the next 4 measures. You will learn fast if you concentrate and consistently memorize this way.

Wednesday, May 3, 2006

Magic Secret of Memorization

Beating the first enemy: Procrastination. It's human nature to avoid a task that seems intimidating or large. Get past this by doing 2 things: Start! The hardest part is getting started. Do the "2-minute drill": Agree to work for just 2 minutes, then you can stop. Usually you won't stop, because you'll be into what you are doing. Be satisfied with small bits of progress. These add up quickly. "How do you eat an elephant? One bite at a time."

Understand how your brain works: Short and long term memory. When information enters your brain it goes into short-term memory. This is a temporary holding place. Unless information in short-term memory is "rehearsed" repeatedly, it will not make it into your long term memory. Long term memory is permanent. The way to get information to this part of the brain is through quality repetitions. "Practice does not make perfect, practice makes habit." Emphasize the quality and the accuracy of what you are doing. Concentrate fully for short periods of time. The goal is to achieve "FLOW" or full absorption in what you are doing. This will make the time fly!!

Different types of memory: Build your brain pathways in different ways. Learn to sing the whole song in your head. Muscle memory: Etch the patterns into your fingers. Try to recite the finger numbers as you play a LH or RH part.

Music is full of patterns. Look for the Patterns in your music. Scale patterns - Melodic patterns - Rhythmic patterns - Harmonic (chord) patterns. Look for repeated sections in your part and in the song. BEWARE of slight variations in repeated patterns!

There are no magic secrets. If there is a secret, it's the concept of quality repetitions. Not repeating the whole song over and over, but separating small segments (1 or 2 measures at a time), learning them thoroughly, and then assembling them to create the whole.

"Don't work hard, work smart."

"Take joy from the process of improvement."

"Get busy!"