When learning a piece of music – and when teaching a new piece of music – I always consider how I can make things as easy as possible, and this invariably means breaking the music down into tiny pieces so that every element is as simple as possible. For a pianist, that might well mean separate hands, but even beyond that it might be to break down each bar so that we can identify different hand shapes, finger patterns, harmonic outlines, interval relationships and so on. Paul Harris would call this making connections. This turns reading into learning.
When it comes to rhythm, this might also mean putting down the instrument and just dealing with the rhythm bit. After all, if you can’t even clap or sing the rhythm, or even just say it, then what are the chances of being able to play it on your instrument? Zero, I’d say.
Some of my pupils are quite surprised when I first ask them to take their hands off the keys and work at the rhythm by itself – after all, this is a piano lesson, and singing or clapping can be a little embarrassing! But they soon realise that actually it’s really helpful to know how the rhythm goes by itself, and that it’s a lot easier because they have less to think about.
Last week I found myself helping a pupil with a difficult rhythm in a Field Nocturne – 4 against 3. Having practised hands separately – the right thing to do – she had been trying her best to put the two together, but was frustrated that it wasn’t working. The reality was that she just didn’t know how the two parts fitted together.
First things first; dealing with a complex rhythm and that mobile left hand accompaniment is just too much to cope with, so let’s remove the pitch element. In fact, let’s just take the piano out of the equation altogether and just deal with the rhythm by itself. I suspect that this idea doesn’t always occur to the instrumentalist, but it should.
Stage one is to work out how they fit together. They say that maths and music go together, and I guess this is what they mean! 4 against 3 looks like this:
Practise tapping left and right hands on knees until fluent.
Stage two, let’s sing the melody line so that we actually know how it goes, rather than just being able to play it – two very different things.
Stage three. A fusion of the rhythm and melody – but still no piano. We sing the right hand melody, and either tap the left hand rhythm, or better still, sing that too! So we end up singing the top line (down an octave, obviously) and doing our best to sing it in tune, and also saying/singing badly the left hand in the correct rhythm. Clearly it’s impossible to sing a two part piano piece, but in essence we’ll do our best. The most important thing is this: although the singing itself might not be brilliant, it represents what is going on in our inner hearing, and if it works in there, it will work on the outside too.
Stage four. If you can say it, you can play it! Now that the whole thing is mastered, we simply add the element of playing the notes.
In real time, this took about 10 minutes of the lesson, maybe 15. And in this time, we didn’t touch the piano. Does that matter? Not in the slightest, this is a music lesson. The best bit is that, having done the hands separately work already, it went together instantly, and I do mean instantly. With a huge smile!