what helps mean a lot is practicing my scales and long tones and études and whatnot for about 30-45 minutes. really get alone and listen tentatively to the tone, ring, etc. it just really helps me focus because I get distracted sooo easily. also, when i'm working on a piece I'll pick out the tough spots and bracket them and work on them first slowly with the metronome, and get them really good, then play the easier stuff. go through the music before you do anything and mark fingerings, etc. :)
Yay more practice tips! I tend to do around that much time on études as well before I get into rep… Although piano études are pretty much repertoire, let’s be real.
Good to know I’m not the only one who gets suuuuuper distracted while practicing.
hi there! if i may ask, who is your favourite composer and why? also, are there any composers that you would recommend and maybe highlight some their works to check out? thank you so much and have a wonderful day!
It’s kind of boring or predictable, but Bach is totally my favourite composer. Why? Because he’s done it all before anyone. You name it. Anthony Tommasini says it best: “Bach sums up all that has come before, and anticipates everything that is to come.”
12 tone row? b minor fugue
Minimalism? c major prelude
Wagnerian harmony? check some of the chorales
Lisztian improvisation? How about the Chromatic Fantasy?
When I begin learning new pieces, I always experience a kind of existential crisis where I question what I’m doing with my life. But when I take time to revisit old pieces, I feel a sense of affirmation. Countless hours of work will always be worthwhile.
"There has been much press hooh-hah about a bowed keyboard instrument imagined by Leonardo da Vinci and built by an enterprising Pole. But does it pass the acid test of musicology? Apparently not. Here’s a response to the American Musicological Society Discussion List from Professor Edmond Johnson in Los Angeles. Sorry, folks."
“When billionaire John Paulson unexpectedly bought Steinway last month, many on Wall Street wondered by a hedge fund manager was interested in a musical instruments maker. But the legendary investor considers himself the “guardian” of this unique American icon, he later explained. “I grew up in a family of piano players. Both my sisters were serious players and they both as they became more accomplished aspired to buy a Steinway and asked my dad to buy a Steinway. At that time they were playing on an upright piano. My father did his shopping and at the end of the day it was not something we could afford. So he did buy a baby grand and brought it home and it wasn’t a Steinway and my sister was crying. It’s when I first realized at the time was how powerful the draw was for musicians to play on a Steinway.”—For John Paulson, Steinway deal means more than profits
“Decide exactly what it is you want to do in the first place and how you will do it; then play it. Stop and think if you played it in the way you meant to do. Then, only if sure of this, go ahead. Without concentration, you can do nothing. The brain must guide the fingers, not the fingers the brain.”—Theodor Leschetizsky (via leadingtone)
“There are pianists whose playing is so predictable that if they fell into a faint it would create a welcome diversion. Fischer could spring a surprise at every note; … There are pianists who hang on the music like parasites, and there are the platform hyenas who devour masterpieces like carrion. Fischer was a giver; he let out his breath and recommended his pupils to practise exhaling every morning. (Inhaling, he said, was easy.) This ‘musical exhalation’ was made possible by a singularly relaxed technique.”—
Alfred Brendel writing about his teacher, Edwin Fischer
“Piano-playing is a strict discipline. Practice — the task of clarifying, purifying, fortifying and restoring musical continuity — can turn against the player. Control can ‘sit’ on one’s playing like a coat of mail, like a corset, or like a well-tailored suit. On lucky occasions, it is just there, as if in league with chance.”—