Tag: music students
The Effectiveness of Repetition
S.B. came for his weekly lesson yesterday. He is an intermediate student. The piece we worked on was Beethoven’s Six Variations in G Major on “Nel cor piu non mi sento” by Paisiello.
Historically, S.B. has often not had the patience to repeat a passage as often as would lead him to experience confidence in playing that passage. Rather, he gets to a point where he thinks that he has played it often enough that the passage should already be going better, and is then discouraged that it is not getting better faster. This derails his internal process of mastering the piece.
Joe: “We need to overhaul your practicing habits. I would summarize the changes that are necessary as follows:
1) shorten the chunk size that you repeat in practicing until it is mastered.
2) use a touch that demonstrates a high level of confidence rather than a touch which suggests uncertainty about the notes.
3) adjust downwards your practicing tempo to support greater accuracy.
4) increase somewhat your tolerance for playing more repetitions of a group of notes as a prerequisite for attaining the degree of confidence that you deserve when playing those notes.
These four things are all tied together, the success of each depends on the all four being observed. The failure of the passage to proceed smoothly even after a lot of practicing may not be due not to any fundamental inability, but something more subtle: a slight misalignment among the four factors listed above. Currently you arrive at the conclusion “that I should be playing the piece better by now” but you may be speaking a bit too prematurely. First work on equalizing the four factors above Not by a lot but by just enough to assure further progress towards the goal of playing the passage with confidence and accuracy. Rather than being a scenario for discouragement, it is just tweaking the four variables until things come into focus. Instead of an un-crosable barrier, it’s just a habit in your way of practicing that needs a modest adjustment. It is then just a matter of equalizing the variables so that their values are more in accord with one another. Instead of coming up against a perennial state of defeat in each This failure in confidence with regard to having the ability to play new piece, you will feel a steady stream of modest gains.
More about the four variables:
#1. Definition of “chunk” size. How far do you go in the piece playing the same notes again? Do you go from start of the movement to its conclusion? Do you focus in on a smaller group of measures? Perhaps just one measure? Perhaps even just part of a single measure? If you keep experimenting with shorter ‘chunk sizes’ you will inevitably come to one that is of the right size to ensure a sense of mastery over the notes it contains when you choose to repeat those notes, a second time, a third time, etc..
#2. “Confidence” is a subjective emotion. Some of us are bound by ethics to play in a way that sounds confident only if indeed we have mastered the passage. I have found, with many students, that simply acting confident often increases the accuracy of the next iteration of the passage. We didn’t have to earn the privilege of feeling confident. We are like an actor, who is real life lacks confidence, but has undertaken a role in a play of someone who has extreme confidence. In such a case sounding confident is only a matter of acting. The gods are not standing in the wings waiting to punish the actor for such hubris.
S. gave a curious reason why his touch might be less even: he thought that the result would be mechanical sounding and not musical. I suggested that at this stage, prioritize confidence over musicality. The goal of playing more musically may be coming in too early in your process of learning a passage. I propose you first want to get an even layer of notes, and then you can start allowing it to vary according to taste (it’s the part of the recipe that says “now salt and pepper to taste” – which of course may be the most crucial step).
#3. Experiment with the balance between tempo and note accuracy. It is possible that you have chosen a tempo that you think should lead to an accurate and confident rendition of the passage, only to be discouraged when you encounter difficulties with the passage in spite of the chosen tempo. This requires a tweaking in the tempo. Continue to gradually slow it down, and usually sooner, rather than later, you will find a match between the tempo and the accuracy of the results.
#4. Concomitant with the other adjustments you may need to increase you tolerance for repetition, but not by a lot, a minor adjustment is often all the is necessary to open the gateway to accuracy.
To summarize, chances are that the four variables is only slightly out of quilter with each other. A major adjustment is not necessary. For instance you do not need to increase dramatically your tolerance for repetition. Often the new setting for each variable is close to the old one; that only a subtle adjustment to bring the four factors into balance with each other.
Over the course of the hour lesson, there were other things we incorporated into the new practicing procedure. When repeating the same passage trick the hand into playing somewhat faster without its noticing that it is doing that. Repeat the process as long as you can sustain the illusion.
Or, saying the names of the notes in your right hand as you are playing them. This raises to a higher level of awareness the identity of the notes in the passage. Or, saying out loud or to yourself your intent to play a certain notes, then pause a very brief amount of time, and then play that note as if to say “I always keep my word.”
We put these principles into practice at the lesson, which turned into a ‘practicing’ session that lasted a full hour, an hour that went by quickly and with a constant stream of self validation. At the end of the lesson I ventured my opinion that: I don’t think you encountered the same boredom factor, from doing things over and over again, that you might usually experience at home when practicing. If you can raise the duration of the practicing of the repetitions, so as to coincide with what you can achieve, you will be in harmony with yourself.
I try to place the emphases in different places, so it doesn’t sound as if all I’m saying is “just keep repeating this portion of the music”. I try to make it sound like: if you shorten the chunk size, then you might be inclined to perfect that chunk, before going on to the next chunk. It’s all ‘disinformation’, or misdirection as in the motions of the hands of a magician.
As you reduce the chunk size step by step, inversely raise your patience reducing the chunk size.
When you create a chunk that is half a measure in size, always “round it off” into the first note of the next group of notes, the next note that would ordinarily be emphasized.
When you first start a new ‘chunk’, try to remember what I said at this same stage in each previous chunk. “Yes”. “I was sounding the notes too tentatively for the results of my intention to register on me.” Remember we can settle for the delusion of confidence. As long as the other person thinks you are confident it doesn’t matter what your internal state may be.
At this juncture S.B came to a realization: “If I’m not really confident in the note I am playing, I will play it softly and tentatively, and even if it is the correct note, I am not getting as much confirmation of its correctness…my body is not feeling as much “vibration” from the note. I said: “what I am calling confirmation and what you are calling vibration, is a crucial aspect of the process. I made the following analogy: “it’s like I gave you three different mediums out of which to make a sculpture. One of the mediums is just soapy water, capable of forming transient bubbles of different sizes. This wouldn’t give you much feedback as to whether you are creating a certain shape, because the shape would disappear or dissipate as you were creating it.” S.B.: “I would have to sculpt a vessel”. Yes, you have to sculpt it out of a material that resists and yet complies. You are not going to sculpt it out of concrete, because that resists too much being formed under pressure. You can’t shape it. But if it is wet clay of some sort, then, yes, it will offer enough resistance to give you that “vibration”, as you call it, inside your hand, and between the fingers, but will also yields to your intentions. In sum, you want there to be enough ‘resistance’ in the sound to make it clear whether it has yielded to your musical intentions.
In the past I have hesitated to see all the way through a lesson like this S.B. He gets frustrated; and I correspondingly lose heart in my goals. Today was different. I made a decision before we started. If we didn’t get positive results I wouldn’t give up but would stay the course. Although he may become bored, today I wanted to create all the circumstances for a definite practicing breakthrough. “If you got bored, I decided to still persevere.” Like reluctant seeds in the ground, in need of just a little more moisture in order to sprout, I wanted to give the new habits the greatest chance of establishing themselves.
S. also figured out that the rate of increase in mastering a passage might come slower if the chunk size was bigger. And there is even a possibility that by the time you get to the end of the bloated chunk, you will have forgotten what you learned or corrected at the beginning of the chunk. So there is actually a negative possibility of getting worse with each repetition of the chunk. I confessed that I would find this totally demoralizing. And I wouldn’t want to practice any more. “I just don’t see what I’m doing wrong!” But using today’s new tactics, negative feedback was almost eliminated. You may be practicing at a slower tempo, undertaking smaller ‘chunks’, but you are getting more positive feedback, and this can only feel good. And it’s not artificial feedback like the typical new-age parent who gives their child a reward for every everyday thing they do. It is bona fide, deserved reinforcement.
At this point in the lesson we switched from variation 1 to the theme. I said “let’s see if we can combine some of the things we were doing in variation one, and see if by any chance it all comes together quicker. Adjust your speed downwards, but just enough to get the majority of the notes to come out correctly.
At one point he used the thumb on two consecutive notes). I said, the main obstacle to changing to a different fingering is a stubborn resistance on the part of the pianist – they don’t really want accept the necessity of changing the fingering. So, here, take this pencil, and put in a new fingering to try. Note that it is not the teacher saying “change your fingering to such and such”. It’s you yourself, overcoming your own resistance, saying I am going to find a better fingering for that passage. You are in control and are not capitulating to someone else’s voice or even the voice of the “good” person in yourself.
Another splendid thing happened. He played something and said: “I played it at the speed I thought I should be able to play it at by now. Instead I will revised the speed to one that presents the highest degree of probability that I will play correctly all the notes and with confidence.”
The time of the lesson was up. I said: maybe the main point today is that everything you are doing is under your control.
Special moments at a lesson
Special moments during a lesson. “Artistic Time” and “Everyday Time”
Rachael is taking a lesson.
I have come to realize that the times when I am most useful to the student is while they are in the midst of playing; not after they have come to a pause. Once the student has stepped back out of the river of time that flows when sounding the piece, it will be too late for her to take my feedback and transplant back into the living flow of sounds she created, where it will do the most good.
The time to strike is in medias res – in the midst of things. The student is then in what I call the “artistic time the flow of ” and not in the flow of what, in contrast, I call “everyday time”. When the stops playing, or a few moments later (although it can be much longer) she simply switches realities, and is back in the everyday. The transition is so automatic that usually the person does not know it is happening: “oh, there is piano again in front of me; there’s Joe again sitting by my side; there’s that awful looking chair he’s sitting in …”. But most of all — there’s “me” again, someone sitting on a piano bench: for if we are immersed in the artistic flow of time we may easily forget where we are, who we are, or even that we are. While playing all that seems to exist is the sound of the music.
During the artistic time the student is in an altered state. If there were a special “artistic-time-clock” available, she would notice it was set to zero when she starts playing, and then continues to marks off time during the duration of her playing. It stops a moment or a longer after she stops playing. At that point she looks at the real clock on the wall, and gets re-synchronized with the time flow of the real world: Oh, it’s 1:30, time for lunch.
The relation of these two times, “artistic” and “everyday”, is expressed by the poet Edna St. Vincent Millay at the beginning of the “On Hearing a Symphony of Beethoven”:
“Sweet sounds, oh, beautiful music, do not cease!
Reject me not into the world again.
With you alone is excellence and peace, … ”
Art (and I might say nature too) has the ability of putting the person into the flow of artistic time, who then may stay in it for a period of minutes, hours, or longer.
If I can join her in the artistic time, what I do or say has a good chance of being absorbed into the fabric of that artistic time, and of staying in that time whenever she plays.
Related to this, there are also brief moments during a lesson, when the teacher can speak directly into the innermost recesses of the student psyche. Moments like these do not occur at every lesson. I can best describe it as something that arises as an unforeseen crack in the fabric of time. A moment later and that opening usually seals over.
The teacher has to alert to when and if such an opening occurs. Something is said or done inside the lesson, that unexpectedly causes the student to let down all the shields and defenses, leaving them open for a moment to new ideas. At such a moment the teacher can carefully and compassionately say something that the teacher has, for some time past, been careful not to say to the student: things that hover near where the student’s personality and musicality intersect.
To take advantage of such a moment, the teacher has to be fine-tuned to the student during the lesson, and remain so as continuously as possible.