STAGES AND STEPS OF TEACHING A PIECE

Here are the general Outline of the Stages and Steps that I follow while 'Teaching' a Piece

A - PRELIMINARY STAGE

1. ANALYSIS: In this step, the student and I study the score and Label the Form, Chords, Cadences, Modulations, Inversions, etc in the piece. We also make a note of the Texture of the Piece. We Circle the Changes in Time signature or Clef.

2. LISTEN TO THE PIECE: In this Step, either I play, or we listen to the recordings of the Piece. This helps develop an overall Sound Image of the piece. We also make note of any interesting ideas that we pick up from the recording.

3. WRITE COUNTS: Now, we write in the Counts, draw Vertical Lines to Denote Beats/Groupings between hands, pay attention the Rest Values and Tied Notes

4. PATTERN RECOGNITION: We look for material such as Sequences, Repetition, Transpositions, Imitations, Clef Changes, Similar/Different Ideas and mark them in the Score

B - COORDINATION AND FLUENCY STAGE

1. OBSERVE AND ADJUST FINGERING: At this step I go through the material to see if the given fingering works for student. The Student edits the changes into their score.

2. DIVIDE PIECE INTO SECTIONS: I usually like to start with the difficult sections first so that they will be practiced the longest.

3. TAP RHYTHMS: Hands Separate then Together Tapping helps establish the coordination between the hands.

4. PRACTICE VOICES SEPARATE BEFORE TOGETHER: I prefer that each Voice is Practiced Separately before they are put together. This of course depends on the Style of the Arrangement of the Piece.

5. PRACTICE WITH ARTICULATIONS: Dynamics can wait, but Articulations are better to be practiced at this stage itself.

6. PRACTICE HAND SHIFTS/LEAPS INTENTIONALLY: Practicing Leaps and Hand Shifts Silently with and without looking at the Keys/Hands helps to feel the distances.

7. COUNT AND PLAY THROUGH TRANSITIONS: As the voices, hands and Section Changes come together, I find it useful to take some time to count out aloud and play the piece. This also helps identify the Weak / Difficult Spots.

8. MEMORIZE SECTIONS: I prefer getting the student to memorize Difficult sections early on in the learning steps.

9. DEVISE PRACTICE STRATEGIES FOR DIFFICULT SPOTS: A Practice Strategy is devised based on the problem/issue that needs to be repaired. Student isolates and practices this step with intent.

10. EVALUATE RESULTS: At each lesson thereafter, I evaluate if the practice was effective, and make corrective recommendations based on progress.

11. BUILD TEMPO WITH METRONOME PRACTICE: We start slowly (maybe half speed) and work on even tempo which slowly increases over a period of time.

12. PRACTICE UNTIL ACCURATE: The Goal here would be to to decide how many times in a row to play the piece with accuracy.

C - POLISHING STAGE

1. ADD PEDAL: We now add the pedal and work to develop a rich sound and to avoid muddiness.

2. FOCUS ON MUSICAL ASPECTS: Here I like to bring to focus the Dynamics, Shaping, Balance between Voices, etc.

3. PRACTICE WITH STYLISTIC AWARENESS: This is the step at which the student reads about the Composer, the Era, listens to other compostions by the composer, listens to other composers works of same era. If the piece is from Baroque era I might ask the student to play on a Digital Piano using the HARPSICHORD Voice, and then bring those sound qualities when playing with the PIANO Voice. Similarly for Romantic Style, we'd discuss where to add Rubatos, etc. Basically this is where we work to build on the Context, Character, Emotion, Style and Interpretation.

4. PRACTICE STARTING AT DIFFERENT SECTIONS: This helps improve security in Performance.

5. SET PRACTICE GOALS FOR EACH PRACTICE SESSION: Focus on one concept, such as - Voicing, or Expression or Playing Error Free for each round of practice.

6. PRACTICE WITH ALL CONTROLS: Practice the Piece with all of the Control Elements in play - Dynamics, Articulation, Tempi, Expression, Style, Balance, etc.

7. LISTEN TO RECORDINGS FOR INTERPRETATIVE IDEAS: Here we listen to professional artists play the Piece to find inspiration.

8. PRACTICE FASTER THAN REQUIRED TEMPO: Helps build Endurance, Focus and Control.

9. PRACTICE MENTALLY: Practice away from the Instrument. Air play with fingers and imagine hearing the sounds and feeling the keys.

While I do follow the Stages in the order mentioned above, I might change the order of the Steps I follow based on the demands of the piece and needs of the student.

In Lower Grades, some of the Steps may be omitted.

I might also add smaller sub-set of Steps to make the learning manageable where required, especially in higher Grade Pieces.

What are the Stages and Steps you follow while Teaching a Piece?