D: Conclusion
Surveys by the Australian Broadcasting Corporation in 2004, 2006 and 2007 established
the most popular piano pieces, the most popular Mozart moments and the most popular
piano concertos. Analyses of the results provide empirical evidence as to the current
preferences of Australian music lovers in relation to the solo piano and piano concerto
repertoire and form a basis for future music policy, planning and development.
PRACTISING
Whether the practice is part of an ordinary routine, or whether one is preparing for an
examination or for a performance, the following ideas may be helpful.
There are different views on practising the piano and for how long one should practice at
any one time. Most agree that young people should endeavour to practise at a set time
each day and for a minimum period. Practice should start with scales and arpeggios
which should be practised musically, with hands together and separately. Experiment
with different dynamics levels and gradations, staccato and legato touches, accentuation
and tempos. Keep all scales at the same relative speed.
Mix up your scales and arpeggios by playing every kind you know that start on a
particular note. Practise C major together and in contrary motion, C harmonic minor
together and in contrary motion, C melodic minor, chromatic scale on C, arpeggios of
tonic, dominate and diminished seventh on C. Practise on all the other notes and don’t
always start on C. Broken chords and broken octaves may be practiced in unbroken form.
Chords, and octaves broken between the hands, may be practised with both hands
together.
Choose piano pieces that suit your hands and that you enjoy playing. It is best to study
from an ürtext edition but it may help to consider additional ideas on phrasing, dynamics,
tempo, expression, ornamentation and pedalling from ‘interpretative’ editions. Study the
title, time and key signatures, tempo, style and structure of the piece. Always have a
pencil and soft eraser beside the piano to make your own notes on the score as to
fingerings that you find suitable and your solutions to various issues of technique,
expression and interpretation.
Once the notes are learnt it will be necessary to practice the whole piece slowly and to
practise some passages with hands separately. Every piece has difficult passages
although a passage which is difficult for one pianist may not always be so for another. It
is important not to stumble, stop and go back because this inhibits the development of a
correct memory. A piece should be practised sufficiently slowly to avoid this. Do not
repeat the same mistakes as this will only cause them to become more deeply ingrained.
Relax and play the passage more slowly and with hands separately. Correct a mistake
from a few beats before as it is the movement to the note or chord that is part of the
problem.