Piano Playing - Reg.

In my experience, many of us are in a hurry to have a large repertoire, often of flashy compositions. There is pressure for "more".

... "Actually, am not referring to the specific bars where one has trouble and such things."

"But, if I try to start from say any other bars other than bar 1, it is not coming out.
Suppose If I had an interruption at bar 9, I cannot continue from bar 9 or bar 10. But I need to start from bar 1 again.."...

This is to the heart of my response. You are actually "...referring to the specific bars where one has trouble and such things", even though you don't think so. Your mind is not properly prepared, your knowledge is not complete enough. Your initial post is a request for how to solve a particular aspect of "... specific bars where one has trouble and such things." although you don't really recognise which those bars are.

You think the problem is where it becomes apparent to you, but most likely there is a lack of clarity in a previous part of the passage, where you think all is well, some tiny distraction. So you are already distracted at the point the "difficulty" appears.

I am going to try to answer you.

I think for all of us, there is pressure to achieve a mass of repertoire rather than a very high quality of repertoire. So, we attempt to "learn it in the fingers, in the body" so that there is more and more repertoire. I find this usually leads to a process where one doesn't need to "think" very much while practising. It become a physical exercise, not a mental exercise. One's mind is free to wander.

So we practise the typical exercises (scales, triads, arpeggios, etc.) and the repertoire we are working on attempting to get "faster/better" rather than more musical, clearer. In my experience that approach leads directly to the problem you describe, of being unable to start at a point in a piece (or phrase) other than a certain place(s). It also leads to seeming able to play a passage at a rapid tempo, but being unable to play that passage slowly. That indicates that one really don't understand the passage/piece at the proper level. (Speed can cover many small insecurities, and can disguise things like small splanks, where an unwanted note is added when the finger does not actually land in the proper place, whether it sounds or not).

After many years of practise of the type I describe above, I have found that if you depend on "feel" primarily, the smallest discomfort can destroy the flow. Also that starting in an unfamiliar place doesn't seem to work. It's as if you can only play broken triads if you always start on the tonic.

Well, if that's the case, there is a gap in one's understanding and the temptation is to attempt numerous times to begin in that uncomfortable place AT TEMPO (mindlessly, if you will), where what one really needs to do is slowly, carefully analyse the passage and get complete understanding of it, complete clarity as to fingering, position shape and shift, volume, articulation, RELEASE etc. One needs to slow one's fingers down to the speed at which one's mind actually works. If it is clear in your mind, you will be able to do it. (I have also found that when I am having a problem "fixing" a spot that isn't working, the actual problem is generally not there but earlier, and my mind is distracted by that previous spot so I am not prepared when the problem "appears").

So, I analyse a every piece, I look at it's form, I analyse the structure (what scale is being used here? what chord is actually outlined here, is it in root position or is it an inversion?). I break down the harmonic movement: (at this moment is this of the tribe of l, or of the tribe of lV or tribe V? etc. etc.). I pay attention to each finger; what finger should I use and where does it LAND on the key? What is the shape of my hand? Do I land in a strong position? Am I holding a note too long, introducing mud? and so on. It may seem like an obsessive attention to detail, but I seek expression through knowledge, not just a large number of notes.

My main goal is to slow down and gain as complete an understanding of the piece I am working on as I can, to always play at the clearest and most musical level. I now begin memorization from the first moment, I seek not speed but understanding. If you really understand the gesture you are attempting, you will succeed because you know what it is. Speed will come of it's own volition.

At this point I practise with the goal of a perfect and musical result rather than a large gain(?) in every practise. I find it a satisfactory practise if I FIX something, clearly.

My playing is better, cleaner across the spectrum. My memorized, performable repertoire grows satisfactorily. I am happier, more satisfied. That doesn't mean that I do not get frustrated, but I persevere, I get better.

I should make clear that I am talking about a practise regime, not performance, where all the intellectualization needs to be below consciousness or you'll really build a crash. :)

Your post shows an interest in improving and that is terrific. I'm sure you will. Good luck.

Best regards,

ps: For what it is worth, I have found the most gainful way for me to practise, generally, is staccato, very slowly, very softly with most attention on my release and maintaining a strict tempo. The other device I use is to take a passage and transpose it to another key, perhaps a semitone or tone (or more). At that point I am not attempting to "play" it in the new key so much as I am looking for the difference in the feeling of the passage and its internal relationship. I find this very helpful.

I also look for tightening in my body as I proceed. Tension in the body shows me which passages I need to focus on.