In life, anything can happen. Sometimes learning a piece of music seems like an incredible difficulty. The reasons here may be different - when laziness, when the fear of a large number of notes, and when something else is different.
Just do not think that it is impossible to cope with a complex play, everything is not so scary. Indeed, the complex, as stated by the laws of logic, consists of the simple. So the process of learning a piano piece or a balalaika should be divided into simple steps. This will be discussed in our article.
First, get to know the music!
Before starting learning a piece of music, you can ask the teacher to play it several times. It's great if he agrees - after all, this is the best opportunity to get acquainted with the new play, to assess the complexity of its performance, tempo, and other nuances.
If you study on your own, or the teacher doesn’t play on principle (there are those who advocate for the student to be independent in everything), then you also have a way out: you can find the recording of this work and listen to it several times with notes in your hands. However, it is not necessary to do this, you can immediately sit down and start playing! Nothing will lose anything from you!
The next step is familiarity with the text.
This is the so-called analysis of musical composition. First of all we look at the keys, key signs and size. And then, then it will be: “yo-may, I'm not playing that way; yo-mao, I'm not in that key.” Yes, by the way, do not be lazy to look at the title and the name of the composer, who modestly hid in the corner of a note sheet. This is so, just in case: well, after all, it's not easy to play and play and know what you play? A further acquaintance with the text is divided into three stages.
The first stage is playing in a row with two hands from beginning to end.
You sat down at the instrument and want to play. Do not be afraid to play with both hands from the beginning to the end, do not be afraid to pick the text - nothing terrible will happen if you play a play with mistakes and in the wrong rhythm for the first time. Here the other is important - you must definitely lose the piece from beginning to end. This is a purely psychological moment.
After you have done this, you can assume that half the work has already been done. Now you know for sure that you can play and learn everything. Figuratively speaking, you "went around your possession with the keys in your hands," and you know where you have holes that need to be patched.
The second stage - "we consider the text under a magnifying glass", sorting out individual hands.
Now it is important to look at the details. For this we play separately with our right hand and separately with our left. And there is nothing to laugh at, gentlemen, seventh graders, even great pianists do not shun this method, because its effectiveness has long been proven.
We look at everything and immediately pay special attention to the fingering and difficult places - where there are a lot of notes, where there are a lot of signs - sharps and flat, where there are long passages through the sounds of scales and arpeggios, where there is a complex rhythm. So we have created a set of difficulties for ourselves, we rip them out of the general text and teach them in every possible and impossible way. We teach for glory - so that the hand itself plays, for this we do not hesitate to repeat difficult places 50 times at the fort (sometimes you need to turn on the brains and divide the difficult place into parts - seriously, it helps).
A few words about the fingering. Please do not be fooled! You are thinking: "I will first learn the text with Chinese fingers, and then I will remember the correct fingers." Nothing like this! With inconvenient fingering, you will remember the text for three months instead of one evening, and your efforts will be in vain, because it is in those places where the fingering is not thought out, in the academic standings blots will come out. So, gentlemen, do not be mean about it, make friends with fingering instructions - then everything will be fine!
The third stage - we collect the whole of the parts.
So we have been busy with the analysis of the play with individual hands for a long time, but, anyway, we’ll have to play it with both hands at once. Therefore, after some time, we undertake to join both hands. At the same time, we follow the synchronicity - everything should be the same. Look straight at your pens: so I press the keys here and here, and together I get some kind of chord, oh, how great!
Yes, especially it must be said that sometimes we play at a slow pace. The parties of the right and left hands must be taught at a slow pace and in the original. The first combination of two hands, too, will not be superfluous to drive in a slow motion. You will quickly play enough at a concert.
What will help to memorize?
It would be correct to initially break the work into parts or semantic phrases: sentences, motives. The more complex the work, the smaller must be the parts that require detailed testing. So, having learned these small parts, then to assemble them into one whole is a trifling matter.
And one more thing in defense of what the play should be divided into parts. Well-learned text needs to be able to play from anywhere. This skill often saves at concerts and exams - no blots there will knock you out of the right path, and in any case you will finish the text to the end, even if you don’t want it.
What should beware?
Starting independent work when learning a musical work, the student can make the most serious mistakes. It is not deadly, and it is even normal, and it happens. The task of the student is to learn without mistakes. Therefore, playing the entire text several times, do not turn off the head! You can not ignore the blots. You should not get carried away with imperfect playback, since the inevitable drawbacks (misses to the right keys, involuntary stops, rhythmic errors, etc.) can now be fixed.
During the entire period of learning songs, one should not lose sight of the fact that every sound, every melodic structure should serve to express the nature of the work or its part. Therefore, never play mechanically. Always imagine something, or set some technical or musical tasks (for example, to make bright crescendos or diminuendo, or to make a noticeable difference in sound between a forte and piano, etc.).
Enough to teach you, you yourself know everything! It’s good to hang out on the Internet, go to practice, and then at night a babaika will come and you, the pianists, will retell your fingers.
P.S. Learn to play like this guy who is in the video and you will be happy.
P.P.S. Uncle name is Yevgeny Kissin.
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