attempting to perform a piece that has not been learned properly. Although I advocate
playing through the work, each of these infrequent trial performances should be followed
by a conscientious ‘clean-up’ with full attention paid to every detail.
When I practice I try to approximate what I want the music ultimately to sound like.
By determining the appropriate fingering early, they will speed up the process of learning
the piece.
Convenience and efficiency are the important considerations for choosing a particular
fingering.
A fingering that seems perfectly fine for slow practicing may not be suitable for a piece
when performing at a fast tempo.
The best fingering is one that fully serves the musical goals of the pianist and does not
allow the pianist to play in any other way.
One should practice as fast as one’s ear can acknowledge every detail and the mind can
control every motion.
If the ear cannot keep pace, the playing will be muddled, even if the desired speed is
achieved.
These mentally skipped parts are easily recognisable by the unmusical, mechanical way
in which they are played.
I suggest that practice sessions include playing through a difficult passage or a work
when the performer simulates the emotional state of a concert performance.
One should practice creatively.
In the process of learning a piece, committing it to memory signifies moving to a higher
level in mastering it.
It is prudent to stick to one edition during memorisation.
Joseph Hoffmann wrote:
“There are four ways to study a composition: (1) on the piano with the music, (2) away
from the piano with the music, (3) on the piano without the music, (4) away from the
piano without the music. The second and the fourth become increasingly important as
the piece becomes ready for performance.”
Chapter 7 – Deciphering the Composer’s Message