LESSON #5:

Perfecting 2-handed Practice Time

1/22/2025

When it is time to play with two hands, I’ve found it to be very important to Perform, Observe, and Play. Of course, I am talking about practice time well spent. You will notice I did not say criticize or analyze. At no time during practice time should you stop being an artist and start being a critic. Your goal is to perform a piece well; with emotion, technique, style, whatever you wish to inject and infuse. Your objectives should be abundantly clear because they are the stepping stones toward that ultimate goal of great performance.

I am assuming you have done what is necessary to learn the notes and the rhythms of the manuscript. (learning a song by ear is an entirely different exercise) These two elements of the song are the first steps in absorbing the idea of the piece you are playing. Notes and rhythm can be learned independently. Step one may be reading the notes, one-handed or two hands at a time. The important thing is to develop a reliable fingering that works well for you. The rhythm can be learned independently from the pitches as well. How you do this is entirely up to you. Sight-reading is not a requirement for the skills we are addressing in this lesson.

Now we begin! The goal is to play the song; right hand and left hand together. The objectives are the exercises you create to teach your hands new tricks! Choose a small part of the song to work on. The smaller the part, the more times you will be able to repeat the exercises we will discuss. An eight bar phrase may be perfect. A smaller four bar section may be just right for now. Play the part slowly, so that you may listen to what you are playing. Play and observe, do not critique. Once you have played through the phrase, take a pause, change the tempo slightly, and begin again. You must play at a tempo that is easy for you to play the notes correctly. If you can put them into rhythm, terrific, but not completely necessary at the moment. Play it a third time, and a fourth; each time change the tempo. I will slow the tempo each time I play the passage. Observe the fingering you are using, whether it is suggested in the manuscript or of your own design. Write your fingering in if necessary. Play it another 3-4 times. Observe the chords that you are hearing and make notes of them as you work. Play it another 3-4 times. Above all, do not teach your hands any mistakes.

If you are satisfied with the fingering you’ve decided on, begin to observe the rhythm of the phrase more closely. If you are struggling with the rhythm, stop playing the piano and clap through the rhythm. Working on the rhythm independently of the pitches of the notes is a fast and easy way to successfully learn the piece. It may also help you realize the inevitable phrasing of the section of music you are playing. Pick a slightly slower tempo and play the part on the piano again. Observe how the rhythm is taking shape. Play it again several times. Isolate any measure or motif that needs improvement. Repeat each exercise several times in an effort to quickly make progress toward a more perfect performance.

Observe your muscles, joints, and mental state. Keep relaxing your muscles. Drop your shoulders, or roll them if you must. Dismiss any thoughts that are distracting and connect your mind to your hands. Tell your fingers what you want to hear. Treat them as if they are separate from your mind. Your head and soul are the teacher and your fingers are ten students with no brains! Be clear about your objectives and communicate them to the brainless fools at the end of your arms. Waste no time chastising yourself and getting upset. Play it again! And again! Make it clear to your body that it is important to remain relaxed. Do not train your body to think it is OK to tighten up when you play. You will never have full control of your tempos if you allow your muscles to tighten up.

Observe everything and work on the details of your performance. Change your tempo and play the right hand only, or the left hand. If the rhythm fails, clap it out. Create exercises that will help you relax and perfect the parts. Move a difficult motif around the piano. Up an octave, down again. Move it to another key. Try a different fingering if you struggle to play the phrase smoothly. Most of all, listen to what you are playing calmly, objectively, and slow down! Improve the parts until you are fatigued or simply need to do something else. Enjoy the process. This is art. Do not make this a stressful, goal-oriented endeavor.

This can be one part of your day that is peaceful. A carefree approach will allow you to make decisions on how to simply improve your performance step by step. The piece will improve if you do not engage in criticism or emotional reactions. Plant a decision tree. Shall I do this or that. How can I play this better?

Another by-product of working like this will be your growing ability to know what you can accomplish in a given amount of time. If you have a half an hour, you will know about how much of the piece is manageable. If you only have 10 or 15 minutes to play, you will not create a frustrating work load for yourself. Do what you can, and come back to the piano later in the day.

In a live piano lesson, I can act as your guide and direct your thinking, create exercises to help improve minute passages, and create a productive practice session that you can enjoy.

Life Lessons:

1. See for yourself that you can remain calm, slow down, and work without being the critic.

You can have a more joyful and productive day… All Da Time!

2. Focus on the objectives at hand. Meditation is not clearing the mind, but focusing your attention on only one thing.