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Estonia Pianos
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#1646597 03/23/11 03:23 PM
Joined: Feb 2009
Posts: 178
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Joined: Feb 2009
Posts: 178
I'm curious to hear your approach to pieces. Mine could use some freshening up.
Here's my "usual routine":
1. sight-read entire piece, noting musical sections.
2. work through the piece and focus solely on fingering, making my own notes as i go, adjustments, etc.
3. work through each section (hardest to easiest) focusing on including all the elements, going slow and repeat, repeat, repeat until there's a bit of fluidity.
4. work through all sections (hardest to easiest) working with the metronome as I continue to work on expression, phrasing.
5. keep working with the metronome until it is at performance tempo. i'll supplement this with slow work on phrasing, fingering etc as issues arise.
6. memorize
7. nit pick


how do you approach pieces - what suggestions do you have for me based on the above (which is general, but pretty much my standard approach)


Re: Practicing...
MrsCamels #1646639 03/23/11 04:33 PM
Joined: May 2001
Posts: 24,187
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I find the metronome a useful tool in the preparation of passages that have rhythmic challenges, but I certainly don't use it to the extent that your post suggests you do. I use it sparingly to compare tempi from one section to another, particularly if there is some kind of textual change which might have a tendency to make me inconsistent in my overall tempo: a change in accompaniment from a triplet figure to a figure of two or four to a bar. I would find it somewhat counterproductive to try to work on "interpretation" - i.e. expression and phrasing, with the metronome pushing me or holding me to a set tempo.

Nor do I use the metronome while I'm playing through or practicing a piece, gradually getting it up to tempo. I might do that with a measure or two where the technical challenges either slow me down or unwittingly cause me to speed up.

I don't think I have ever worked through a piece concentrating solely on fingering; that again is something I do for isolated passages which may initially seem awkward to negotiate until a satisfactory fingering is found.

Longer works I will divide into musically logical sections and work on those sections in different order, often working from the last to the first, so that, because of occasionally unexpected time restraints, the last section is not always the one that receives the least amount of attention.

We each have our own methods of approaching new works, and some of what you do is similar to what I and others do.


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Estonia 190

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