Excellent tip Tommy. Anything that can help iron out those rough spots is certainly worth a try and I think your suggestion makes perfect sense since it allows a smooth transition at the proper speed into the difficult area on a repetitive basis. Thanks !
Thanks for this video, Tommy. I’m going to incorporate this into my practice for sure. May I ask how you choose your repertoire and what resources you use to help you choose. Thanks!
Thanks. I’m pleased it helps. To be honest, I choose my repertoire through two main sources. The first is Pianist Magazine which has an excellent scores section with both relatively well known and unknown (to me at least) music. The second is nothing more scientific than RUclips. For example, I first heard the Mélodie by Gluck played by Yuja Wang on my RUclips feed and loved it so I learned it. I think the key is always to choose repertoire that strikes an internal chord so to speak. The trick then of course is to work out how to practice it :-)
Great to hear. I have found that it really pays dividends - especially as we get further down the learning process. An interesting psychological effect is that if we can comfortably loop through that awkward section, when we cone to play the piece end to end it feels far less daunting as we’ve already proven to ourselves that we can do it easily. I never found this benefit with ‘drilling’ where I would generally still dread that approaching passage :-)
I think we need to try things for ourselves and see if they work. Not everything works for every person. I simply share things that worked for me. I hope they help others to get results too.
Just how would you design a control. It's about growing neural connections between our brain cells. The quesion is more about how much should we do in one sitting before our mind grows numb.
@@JoeLinux2000 a very interesting question. I suspect that this point is different for everyone. Equally, I suspect it is based on the material. For example, if working through a Hanon exercise as opposed to a Chopin Etude, the point of ‘mental disconnect’, is likely to be very different. Thus, I think it is important to pay attention to the point at which we start to disconnect. I believe that some, for example, find great pleasure with Hanon (and so are less likely to disconnect) whilst others hate it (and so will quickly disconnect). So, we need to be mindful that we stay connected to what we are doing and, when we disconnect, move on to something else :-)
I was watching this video while having my lunch and your comment made me pause because I wondered if there was a study on the best way to eat a sandwich. I might have been doing it wrong all these years ! 😂
Excellent tip Tommy. Anything that can help iron out those rough spots is certainly worth a try and I think your suggestion makes perfect sense since it allows a smooth transition at the proper speed into the difficult area on a repetitive basis. Thanks !
Yes, I think the transition is the bit we often miss working on.
OMG....PLEASE KEEP GOING... THIS IS SOOOOO HELPFUL. A THOUSAND THANK YOU
I’m so pleased you find it helpful!
Thanks for this video, Tommy. I’m going to incorporate this into my practice for sure. May I ask how you choose your repertoire and what resources you use to help you choose. Thanks!
Thanks. I’m pleased it helps. To be honest, I choose my repertoire through two main sources. The first is Pianist Magazine which has an excellent scores section with both relatively well known and unknown (to me at least) music. The second is nothing more scientific than RUclips. For example, I first heard the Mélodie by Gluck played by Yuja Wang on my RUclips feed and loved it so I learned it.
I think the key is always to choose repertoire that strikes an internal chord so to speak. The trick then of course is to work out how to practice it :-)
@@TommysPianoCorner Thanks, that’s great advice.
@@gillianfernie9376 my pleasure
I love this idea. I think it will help with those pesky transitions.
Great to hear. I have found that it really pays dividends - especially as we get further down the learning process. An interesting psychological effect is that if we can comfortably loop through that awkward section, when we cone to play the piece end to end it feels far less daunting as we’ve already proven to ourselves that we can do it easily. I never found this benefit with ‘drilling’ where I would generally still dread that approaching passage :-)
You have scientific evidence?
I think we need to try things for ourselves and see if they work. Not everything works for every person. I simply share things that worked for me. I hope they help others to get results too.
Just how would you design a control. It's about growing neural connections between our brain cells. The quesion is more about how much should we do in one sitting before our mind grows numb.
@@TommysPianoCorner This is an excellent practice technique as it focuses on genuine music, not repetitious exercises of little or no musical value.
@@JoeLinux2000 a very interesting question. I suspect that this point is different for everyone. Equally, I suspect it is based on the material. For example, if working through a Hanon exercise as opposed to a Chopin Etude, the point of ‘mental disconnect’, is likely to be very different. Thus, I think it is important to pay attention to the point at which we start to disconnect.
I believe that some, for example, find great pleasure with Hanon (and so are less likely to disconnect) whilst others hate it (and so will quickly disconnect).
So, we need to be mindful that we stay connected to what we are doing and, when we disconnect, move on to something else :-)
I was watching this video while having my lunch and your comment made me pause because I wondered if there was a study on the best way to eat a sandwich. I might have been doing it wrong all these years ! 😂