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Improve the quality of piano practice, starting from listening to your own performance

  When the author is teaching guitar, I often hear students at all levels complaining about the following questions: “Teacher, why is my performance always dull and without feeling?” “Teacher, I have been practicing with the metronome, but I still can’t master the rhythm. “Okay” “Teacher, I’m very familiar with the music, but I always feel that there is no detailing” and so on.
  While everyone’s situation is different, aside from technical and theoretical knowledge, there is a common root behind these problems: never listening to one’s own performance.
  1. “Familiarity” is only the first step.
  Many students often set a single goal for themselves during practice, and quickly turn to the next one after they are achieved.
  For example, when learning phrases, work hard to conquer each note, and start learning the next one immediately after memorizing it; when learning Riff, try to memorize the rhythm of each beat, and start playing “casually” after playing coherently; One finger shape, after memorizing it, look for more finger shapes.
  In such a practice rhythm, it’s hard to have the energy to really listen to yourself.
  For example, when many students are learning Riff, they think about whether the rhythm of each sound is correct. During this process, you may try to listen to the metronome, but you can’t hear your own playing – because throughout the process, you have been thinking about your rhythm and whether the notes are correct, rather than looking for the rhythm as a whole.
  Therefore, when learning a riff or phrase, going from “no” to “played” is only the first step. If you want to play well, you need to listen carefully to your performance after you are “familiar with it”, feel whether your strengths and weaknesses, skill stacking, etc. are in line with the musical temperament, and then continue with special training.
  2. Listening and self-correction
  ”playing” a phrase does not mean playing well. Just like when reciting a poem, memorizing it doesn’t mean you can recite it emotionally.
  But only after playing it, the brain can not only care about “the correctness of each note”, but also pay attention to the overall color of the music.
  Therefore, for those who want to improve the color, emotion, rhythm, and details of their performances, after they can fully play the target practice, the real training has just begun.
  During training, your brain and ears need the same level of focus and training intensity as your fingers. For example, when you analyze the original audio and find that a bar is played, the master puts emphasis on the second and fourth beats. Then, when you play there, your ears need to carefully capture the strength and weakness of your playing, and after brain analysis, summarize whether your strength or weakness is handled properly.
  If you feel dissatisfied, you need to play the place repeatedly, compare your performance with the original version or with your ideal state, and finally memorize your satisfactory performance state and practice repeatedly.
  3. “Exquisite” practice content As we
  all know , after “playing” a piece of music, repeated complete practice is the least efficient way. Therefore, we need to listen carefully to find our weak points in the music, and practice targeted practice for those details.
  Here, we can still take a few steps to “refine” our own practice step by step:
  1. Find the measure
  Take my piece “2080s” as an example, if you find that the whole piece is almost played, but some “small places” If the handling is not appropriate, you can find the measure you are not satisfied with by listening to your own performance.
  2. Find the specific number of beats
  When you practice these two measures repeatedly for a period of time, you feel that the whole has improved to a certain extent, but you find that the two beats are still not up to the standard – the second and third beats of the first measure. So you can dismantle these two shots to form an exercise.
  3. Find specific notes
  After a period of practice, you find that only the second backbeat is not consistent with the first forebeat, and you can combine them to form a new practice.
  By gradually “refining” the practice content in this way, your ability to handle details will be greatly enhanced. But the premise is that you first need to spend enough time and energy listening to your own performance to find the subtle flaws and specialize in training.