Tag Archives: playing the piano

Not Practising but Playing

A guest post by James Holden

I am not practising but playing the piano.

It has not always been like this. I was younger once and like all pupils would be given my notes on how to play the notes. I would each week be handed a few handwritten, barely legible lines marking out my teacher’s expectations for the coming week: a list of scales to perfect, contrary motion; the names of the pieces to work up.

I am older now. I no longer have to decipher any comments or reach any point by a particular time. I no longer have to worry that my lack of practice will show. I’m not working towards any exams. I’m not studying for a GCSE or A Level. I’m certainly not building up to my Grade 6, Grade 7 or Grade 8. I’ve not had to pick any pieces from List A; I’ve not even looked at List B. And I’m definitely not looking forward to any concert performance.

I am older now and I no longer practise the piano. It’s not practice because I’m not practising the piano for anything. I’m not practising a work in readiness for some point in the future when I’ll finally be asked to play it, when I’ll be asked to perform it, when I’ll be marked, given a merit or a distinction or not. I’m not setting aside time at the keyboard now against some prospective moment. I’m not preparing for anything. No, I’m not practising but just playing the piano.

The difference is one of quality. It is a difference that I can feel in every note, even the wrong ones. I’m not practising the piano, I’m just playing it and that playing belongs entirely to this present moment, this instant as I press down each key. This is it; it’s happening now and not in some future time of a potential recital. It belongs entirely to me, even and especially when I play not the right notes but the wrong ones.

It is an experience that as well as being more immediate in time is also now closer in space. It is nearer to me. The playing begins and ends with me at the piano. There is no inevitable audience. I’m not playing to the upper circle or to any icy examiner but for myself.

The difference between practice and play is also one of quantity. I play the piano far more now than I ever did when I was younger. I play every day when I’m at home. And when I’m not playing the instrument I’m listening to recordings of other people playing it. The piano is no longer a distraction but the thing from which I’m distracted.

And with this increased quantity of time at the keyboard has come an increased quantity – or at least variety – of music on the stand. The difference between practice and play has been for me a greater freedom to choose any piece I want, from any List, A or B, any piece by Liszt or otherwise, from the most simple to those that remain beyond me at the moment, and may well always stay out of reach. It is equally a greater freedom not to choose certain pieces and to abandon any work I want. If I find a work unrewarding (which is different to finding it difficult) I can simply take the music down and put it away without any sense of failure. There is no longer any merit or distinction in playing something that more than challenging me is making me unhappy.

This playing still does not come easy. I’m only moderately competent at the piano. I still have to work out which note is which when there are multiple leger lines. I still have to work hard to eliminate those wrong notes which multiply themselves across the keyboard. And I still patiently have to work my way through complex passages hands separately first and then hands together after, counting in my head as I go, one and two and… getting a feel for the cantabile melody line before adding the accompaniment.

And yet for all these difficulties it is still a joyful and intensely rewarding experience. And so I would recommend that everyone diligently practise the piano and then whenever possible also make time just to play it as well.

© James Holden 2014

Dr James Holden was born in Ashford and educated at Loughborough University. He graduated with his PhD in 2007. He is the author of, amongst other things, In Search of Vinteuil: Music, Literature and a Self Regained (Sussex Academic Press, 2010). His website is www.culturalwriter.co.uk and he posts on Twitter as @CulturalWriter

 

Guest post: Piano playing’s place in our busy lives

by Catherine Shefski

As adult pianists we all know how hard it is to carve out practice time every day. Our days slip by  full of errands, phone calls, appointments and chauffeuring kids. Sometimes whole weeks or even months fly by while we’re bombarded with family emergencies, travel, or job obligations. But we’re constantly nagged by that inner voice that tells us that consistency and time at the piano are required for steady improvement.

For the past few months I’ve been very lucky to have a lull in activity on the home front. With my daughter happily off studying abroad and two sons away at college, I chat with them often and know that they are safe, healthy and independent. For five months I was able to fill my non-teaching hours at the piano preparing for each week’s Go Play Project recording. But now things are heating up. I’m getting ready to launch a new website and learning everything I can about marketing, branding and book proposals. I’m preparing students for their annual National Guild Auditions and Spring recitals. And I’m getting excited about my daughter coming home to finish high school and start the college search and application process. My time at the piano these days is limited.

When I do find the time to sit down at the piano I aim for deliberate practice. But I also find that more often than not, simply finding the easiest way to play a difficult passage is often the best way. The shape of the phrase leads me to find the best fingering or hand movement. Awkward hand positions are  made more comfortable by simply moving the hand into the black keys. Large leaps are spot on when   I move my arm in an arc and look before I leap. Cantabile comes from the fingertips along with a freely suspended arm and close listening. Fast octaves? For me it’s all in the rebound. Playing the piano is not hard work. It’s not about getting in shape or building muscles. In fact it’s the opposite of the “no pain, no gain” rule of sports. When you’re doing it right, it feels good.

So to all those pianists who are bombarded by life’s obligations, take heart. Piano playing is not always about how regularly you practice or how long you practice or even how deliberate you practice. It just might be  about grabbing that half hour before a student arrives at the door, or those first minutes of daylight with your morning coffee, and ‘coming home’ to the piano. It’s about sinking into the keys and expressing yourself through your fingertips. It’s about deep listening and communication. And in the end it just might about the child leaving home for college or the military. Or about the recent break-up or new romance, the death in the family or the new baby’s birth.

 

Catherine Shefski is pianist, teacher and blogger who is currently recording one piano piece a week for The Go Play Project. 

 

 

 

 

 

 

 

 

The Go-Play Project

I’m flagging up this interesting project which a colleague of mine in the US (and contributor to this blog), Catherine Shefski, is undertaking this year, to learn and record one piece of piano music per week. As she says in the blurb to accompany her recordings on SoundCloud “Like many piano teachers, over the years my own piano playing has taken a back seat to teaching and all the administrative work that goes along with running a music studio. This year I’ve decided to change that. I am making a commitment to record and upload one piece each week. By setting these weekly deadlines, I’m hoping to overcome my tendency towards procrastination and perfectionism.”

I think Catherine’s comments probably chime with many piano teachers – that we don’t play enough as we focus more of our attention on teaching. If one runs a busy teaching studio, it can be hard to find the time to play oneself, and at the end of a long teaching session, one may not feel like sitting at the piano. However, I think it is crucially important for a teacher to play regularly, if possible. One should be constantly exploring new repertoire, and honing one’s techniques and skill-base. All useful in teaching, and to me, more useful than reading dry pedagogical texts and music theory away from the piano.

I admit I am very selfish about my piano playing: this is partly because having got one Diploma (with Distinction!) under my belt, I am now working towards the next one (LTCL). I learnt from my preparation for the first Diploma, that if I don’t put the hours in at the piano, I won’t be properly prepared – and preparedness is essential. On another level, I really really enjoy playing the piano. Even if I am working on some particularly knotty passages of Liszt or a finger-twisting Rachmaninov transcription of Bach, I get a tremendous amount of pleasure and satisfaction from playing. I am rarely bored, because if there is nothing else to do, I will nearly always play the piano. And I know I’m not alone in feeling this – even a busy professional pianist has to love his or her job to do it well.

Take a look at Catherine’s accompanying blog to read more about the Go Play Project, and visit her SoundCloud to hear her pieces.

As for playing the piano, in the words of the slogan of a famous sportwear company – JUST DO IT!