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While this might be self evident to those of us who have made daily practice a life time discipline, we shouldn’t assume everybody shares our understanding of its importance.

In the studio of a client of mine there is a poster showing the difference in how long it takes to do 100 hours of practice. At 5 minutes a day, or 30 minutes a week, it takes 4 years to practice 100 hours, but 30 minutes a day it only takes 9 months to do the same work.

Cognitive scientists can also demonstrate the greater learning efficiency which occurs to more substantial study periods done on a very regular basis. The 30 minute per day practicing student will actually accomplish 5 or 6 times as much learning with the same total time invested as the 30 minute per week student. Athletic coaches figured this out long time ago, hence the daily practices most school athletic teams employ.

Andrew Remillard
President
ANRPiano.com




I, like most pianists, have a long and at times sordid history with Monsieur Hanon. As I begin to rehab my left hand I thought that maybe a return to the simplicity and repetitive nature of Hanon may be just the therapy I needed to restore coordination and strength following the surgery.

Going through my filing cabinets I found my original copy of Book One of Hanon’s virtuous exercises. I was a little taken back by the dates my first teacher, Velma Snodden, (yes, the little old lady down the street) had written into the book. I had started this endeavor in my second year of lessons. Upon completion of this book with her I moved on to the unending joys of Czerny.

My next contact with dear Charles was my freshman year at college. My teacher said he preferred the “pure” technical work of Hanon to the quasi-musical works of Czerny, so back to Charley I went. Somewhere along the way I had heard it is best to play these gems in all 12 keys, and certainly you can do better than the posted speed limit of 108 to the quarter. So always being one to over-do everything, I spent my youthful energy working every one of the first 20, in all 12 keys, to the magical speed of 144 to the quarter note. Ah, the follies of youth.

I did succeed in my endeavor and in the end asked myself if it had really been worth the effort. There is no way to truly answer this question, though I think I did reach an answer because I never used them in my teaching and had never once played them again after reaching this milestone.

And now here I am in my maturity returning to Monsieur Hanon’s exercises in the hope I will be able to play again at the level I had become accustomed. The paths we take through life sometimes takes us back to where we began for the most unexpected of reasons.

Andrew Remillard
President
ANRPiano.com



I shudder to think about how much time I wasted in my own practice with mindless repetition. I would often play scales and my literature with thoughtless and endless repetition; hoping somehow that I would learn the music and usually through brute effort eventually succeeding.

As I got older and busier and the literature I was playing became greatly more complex I realized I needed to become more efficient and productive in my efforts. One of the breakthroughs was learning to ask the question: “How can I remember that note?”

This question causes one to look for relationships between passages, relationships within passages; anything which would aid in understanding the function and purpose of each individual note.

The boarder understanding of a note’s relationship to the rest of the work allows you to bring a fuller musical understanding to bear in addition to aiding memory.

Andrew Remillard
President
ANRPiano.com



My hand surgery is two days from now. I gave up trying to make my left hand play the piano over a week ago; it simply can’t do it anymore. I am trying to keep myself distracted from my impending challenges, but I usually fail.

However this afternoon and evening I lost myself in the smell of spruce and feel of fine wood dust on my skin as I began building a new soundboard for a customer’s piano. The hours slipped by unnoticed as I first laid out the dimensions of the new ribs and then began the peaceful process of measuring, cutting, sanding, cutting, and sanding some more. There are few more satisfying feelings than working with a chisel sharp enough to give you a very close shave as it cuts through a maple piano rim as if it were basswood. So for a few moments, as Maria Tipo played through Bach’s Partitas, I went to a place of calm and peace.

Two months ago I played a recital without any problems and now I am unable to play at all. This reminded me again how we must live our lives in dependence and submission to our Father. We may think we know where we are going and what will allow us to live a well lived life, but tomorrow you can lose everything. If after Friday’s surgery and the two months of recovery, I am unable to play in the manner I have become accustomed to, will I be able to accept it as my Father’s will? After all I have been playing for over 40 years! I was hoping for at least another 25 or so, I have my best years ahead of me. Yet, in the words of our savior, “not my will, but thine, oh Lord.”

Andrew Remillard
President
ANRPiano.com



Cognitive scientists will tell us that interrupting the visual flow if information is a significant determent to learning. Looking from the score to your hands and back to the score breaks up the information flow into your memory, creating a garbled mess. It is critical for the mastery of playing, that the fingers and arms learn to judge distances without the aid of the eyes. Make the mistakes and learn from them, but do not let the eyes become the crutch of the hands.

Andrew Remillard
President
ANRPiano.com



The most important thing in music is rhythm, the most important thing to rhythm is the beat, and the most important thing to the beat is its steadiness.

I can play a familiar melody such as “Mary Had a Little Lamb,” and make it completely unrecognizable by radically changing the rhythm. However, it is still easily recognizable if it is played in a serial tone row, (maintaining the melodic shape while using large leaps and wild chromaticism) but keep the original rhythmic patterns.

There are two components to a secure sense of rhythm. First you must KNOW where in the score the beat falls. The beat can be any note value assigned the primary rhythmic motive function. You must understand where in the score these beats occur.

The next part is the “Loving”. You must have a physical sense of the beat. There is no guessing allowed in the beat. Clap your hands, stomp your feet, jump up and down, tap a foot, tap a toe, count out loud; do something to physically feel the presence of the beat or pulse.

Now put these together. Know where you belong in the score as these beats you feel come by. No matter what, you must be where you belong! If your playing is controlled by a steady, known beat, with a thorough understanding as to where you belong in the score with the beat, you will have a secure rhythm. Failure will make your playing rhythmically unintelligible.

Andrew Remillard
President
ANRPiano.com



We have all heard the axiom “A job expands to fill the time allowed.” This can be expressed differently: “Limit the time to do the work and the work may still get done.” One of the inherent flaws in the weekly lesson template we all use and grew up with is the lack of tight time limitation. If something is not mastered this week, there is always next week, or next month or even next year. This can be mitigated with recitals, festivals, and competitions. However, even with these, we still can put off our work until most of the available time is gone.

In my own playing, once I took my first church job which required me to have hymns, preludes, postludes, etc. ready every week without fail, I found my ability to learn a significant amount of music quickly an absolute necessity for survival. At first, I was not terribly successful and relied upon the art of “fake” more than I should have. But through the years there has been more “play” and less “fake”.

Andrew Remillard
President
ANRPiano.com



1) THOU SHALT NOT KID THY SELF.

In Shakespeare’s Hamlet, Polonius gives his son Laertes the advice to above all else to be true to himself. Honesty with one’s self is a lifelong process. In the world of music practice it can begin with the simple step of writing down how much you practice. Even if you never total the time or even give it a second look, you have established a measure from which to judge your efforts.

Goal setting is critical for any endeavor. If the requirement is to have a piece up to tempo by a certain date, you can break down the steps necessary for the accomplishment. If these intermediary steps are not met, you must be honest with yourself that the larger goal is in danger and likely not to be met unless additional effort is made. If a secure memory is the goal and little has been committed to memory a week before the deadline, don’t kid yourself, a secure memory is not likely to be the outcome.

We will bear the complete responsibility for our success or failure for the vast majority of our life. While as a student, it is easy to be dependent upon your teachers to order and plan your work and goals. However, you are a student for only a short time and will have to order and plan your work for decades after your student years.

Andrew Remillard
President
ANRPiano.com



I had always wanted to immerse myself into the study of large amounts of piano literature. A few years ago I quit waiting for an opportunity and committed to the opportunities I already had. I “subjected” my church to all of Bach’s Preludes and Fugues of book one and all of Beethoven’s sonatas.

One of the inspirations for doing this came from years ago watching Steve Vaught, aka Fat Man Walking, walk across the USA. Steve had a number of personal demons, the least of which was his diet. He set out to walk across the country from San Diego to New York as a means to regain a sense of purpose and direction for his life.

For myself, I had always been a poor sight reader and very slow learner (among countless other deficiencies). I had been nibbling around the edges of these problems for years, but had never really committed to solving them. (I don’t know if they can be solved, because you can always be a better reader and faster learner). After reading about Mr. Vaught’s journey I decided to set out on my own.

I had read through Book One of the Well Tempered Clavier while in college, and like everybody else, learned a handful. My teacher William Phemister had played the complete cycle of Book One the year before I had entered Wheaton College and people were still talking about it the next year. I had also listened to some complete recordings and had lost myself in the beauty and uniqueness of this work. What a great addition to one’s repertory than the complete Preludes and Fugues, so I decided to give it a try.

I interspersed the Preludes and Fugues with movements of Beethoven’s Sonatas and began to work my way through both collections. I finished the Bach first. I started the second book but lost interest and moved over to his piano toccatas. (I have since returned to both sets and am once more doing the complete cycle, this time doing both P&F’s in each key at the same time)

The sense of completing such a large project is enormously satisfying. It would have been easy to give up anywhere along the way and just do something different… no one would have known… except myself. I could live with everybody else, but living with myself is a completely different matter all together.

The setting of an immediate deadline; I had to have something new to play every Sunday, kept my mind very focused on being productive with every minute I practiced.

Learning from my failures along the way taught me more than my successes. There were some Sundays I would have preferred to crawl into a hole behind the piano with embarrassment over how I had just played. I learned more about what it would take to be successful the next time after these failures. I learned to better judge the amount of work I would need to do to get difficult technical passages under control quickly.

I also learned about staying within my abilities. The difference between a good clean performance and one filled with stubbles is often only a notch or two on the metronome. The audience is less aware of a slow tempo than they are a mistake filled performance. (I told that to my students all of time, I should listen to myself!)

My sight reading and absorption rates did improve significantly through all of this, and for that I am glad. However, more importantly, I have a much deeper understanding of these two giants of keyboard literature. Immersion study is the best method for mastering a language and immersing yourself in a composer’s total output, I have found, is the best way to come to understand the totality of their output. I now understand how superficial my knowledge of other is composers even if I know a dozen of their works.

There are still many journeys yet to come. Some I will chose, and some will chose me. I am rounding the corner on this one, coming into the home stretch, and I can see that I am returning to where I began and knowing it for the first time.

Andrew Remillard
President
ANRPiano.com