The following “meditative practicing” technique comes in really handy when far away from your instrument.
All you have to do is choose a notated piece of music that you’ve got memorized and try and play it in your mind as precisely as possible, hearing it, and even feeling the touch of the piano (this also works if you play another instrument: just mentally recall the feeling you experience when playing your particular instrument). For pianists, Bach’s Inventions work well because they consist of two contrapuntal parts, which are already challenging enough to hear simultaneously with the mind’s ear. But you can choose virtually any piece of music. When a passage seems unclear, go back and “replay” it again, slower if necessary (just as you would when you practice on your instrument) until you’re able to hear each note, as well as each item of expression attached to each note, with utmost precision.
This technique certainly requires sharp concentration and thus works best in a calm environment. But if practiced correctly, its benefits are certainly to be felt as soon as you return to the piano (the following day for example – it’s always good to allow the mental exercise to fully sink in during the night…): overall, your knowledge of the piece will have been considerably strengthened; your memory won’t fail you and you’ll be able to concentrate on musicality right off the bat.
Chers ami-e-s : le concert prévu demain soir au 45° Jazz Club a été annulé et déplacé à mercredi prochain (le 27 juillet) au Bab-Ilo (9 rue du Baigneur, 75018 Paris). Voici le lien vers l’event facebook mis à jour. Merci pour votre patience vis-à-vis de ce rebondissement… J’espère vous y voir nombreux !
I’ve recently been working on most of Johann Sebastian Bach’s Two-Part Inventions as a kind of warm-up for the fingers and the ears (I learn them by heart and usually go through several first thing in the morning or at the beginning of each of my piano practice sessions). As I was playing No. 3 (D major) today, I realized I mostly was using legato phrasing and decided to venture into a staccato rendition of the piece. With the change of expression (staccato versus the former legato phrasing), I found myself much less self-assured: my memory failed me and I had to refer to the music on a couple of occasions. This, to me, was an indicator that I wasn’t hearing the melodic lines as clearly as I thought I was able to. Indeed, I don’t think my memory would have been caught off guard in that manner if a had been hearing them strong. So in addition to being a useful technical exercise, practicing cantabile style playing using both legato and staccato phrasing seems to be yet another great way to strengthen one’s inner hearing, and thus a very musical exercise. Highly recommended!