Josef Mazan

I would like to write here about a method that I have been using for a long time to practice pieces, and it has proven to be very effective for me.

Before actually practicing a piece, it is necessary to have the fingerings completed and written down for each note. Up until the later grades of conservatory, the professor usually creates these. This should be preceded by an analysis of the piece, its peaks, dynamics, tempo, etc. Before we start practicing the piece, we also need determination and a considerable amount of patience. Once we are prepared, we can proceed to practice the piece.

This process follows a basic rule:

Choose a section of the piece that you can play without mistakes.

Let’s start with small sections, for example, one measure. If we can play it flawlessly, it is done for the day, and we do not play it again.

Excessive enthusiasm can be counterproductive. If we feel the need to play a section of the piece more than once, it is usually because we lack confidence. By repeating it, we try to convince ourselves that we can do it. That’s fine, but the last repetition must still be flawless, which can become difficult due to increasing fatigue. Therefore, playing it just once is enough.

We then move on to the next measure, and so on until we have finished the chosen section, which might be the first page of the sheet music. Once we have mastered each measure, we can move on.

Our task now is to play a larger section flawlessly, say two measures. Gradually, we combine small sections into larger ones. However, we never deviate from the rule that the chosen section of the piece must be played without mistakes.

At the same time, we try to understand the ideas of the piece and express them musically in an appropriate way.

We practice every day. The regularity of practice is very important. However, if we have a good reason to take a break, we should not hesitate to do so.

Once we manage to combine all the smaller sections into larger ones and play the entire piece from beginning to end, correctly interpreting it according to its style and the composer’s intention, we move on to the next phase: practicing with a metronome.

We find a tempo at which we have good control. We look for a tempo at which we can play the entire piece. To start, this means playing slowly. If we cannot manage it, we go back. We practice small sections with the metronome and combine them into larger units.

If we can play the piece from beginning to end without mistakes, we write the tempo marking in the sheet music and place a comma after it. This marks a partial success, and we have something to be proud of. We then increase the tempo and try again. If a mistake occurs, we leave the tempo without a comma. If we are already tired, we can try again the next day.

We gradually increase the tempo until it exceeds the ideal target tempo. It is good to have a certain reserve.

If we reach the point where we can play the piece from beginning to end at the appropriate tempo without mistakes, we can consider performing it publicly. About a month before the concert date, it is advisable to play it for someone. This could be a student or a family member. This helps the piece mature.

Public performance in front of an audience is an important and irreplaceable part of practicing a piece. Those who learn a piece only to play it at home, in my opinion, hardly manage to bring it to its final stage. Once the piece has gone through the fire of concert performance, something changes. We gain perspective and confidence.

The next phase of practice is maintenance. So far, we have been practicing the piece every day. Now, we can take longer breaks during which we do not play the piece. One method is to roll a dice to determine which piece to play that day. If the piece is well-established, even a break of one month should not be a problem. However, two months might be risky. What we do not use, memory forgets to save energy. It is therefore advisable to refresh the piece at least once a month. A month before a solo recital, however, we switch back to practice mode, playing each piece according to the chosen order. First every other day, then every day, to ensure everything is well-prepared for the concert.

When preparing for a recital, we also use the method of playing the selected section without mistakes. Now, however, the selected section is the entire program. We play it from beginning to end without interruption or repetition.

After playing the entire repertoire, we take a short break. We rest, for example, by reading a book or something similar. Then we correct the mistakes we made during the performance. It is necessary to remember them during the play and find out the reason for the mistake. We focus on the place where the mistake occurred and practice it slowly by playing from the sheet music. Then we connect the place into a larger section, including the measure before and after it. We then play it once without mistakes. This fixes the mistake, and we do not have to play it for the rest of the day.

This practice method works very well. Even though it may not seem like it, I believe this is actually the fastest way to learn a new piece. We proceed systematically, in small steps, without retracing or going in circles. By practicing without mistakes, we always put the piece down in perfect condition, even if it is initially divided into small parts. When we do this for a longer period, a significant improvement becomes noticeable. We can then quickly combine the well-practiced parts of the piece and succesfully learn it.