On the Subject of Practicing Slowly
Recently, as I think I mentioned in my last share, I have been working on Anders Koppel’s concerto
for piano and alto saxophone.
Anders’ son Benjamin who is just a marvelous virtuoso saxophonist will play the alto part.
In addition, the use of my recent Guggenheim Fellowship grant (details coming soon!)
will be to not only learn Anders’ concerto, but to write one of my own to be played.
Benjamin is also writing one for us, so that’s three concertos!!! (concerti?)
I have tried to devise a way to slowly take in the whole piece.
As I’ve mentioned last time, I don’t know if I will succeed or not, but in this recent state
I’ve been in I am surely enjoying practicing it.
I have said that me playing a concerto live, while playing two more,
one that I write and one that Benjamin writes is so far beyond anything I’ve ever done.
I’ve told Anders and Benjamin that it’s like taking a quarter horse and entering him
in the Kentucky Derby. It’s simply not what that horse was trained to do.
But these days I am kind of believing that all things are indeed possible, so we’ll see.
(note* I’ve warned Benjamin that his piece and mine better have a hell of a lot of improv
and less written material or else I will kick his…..oh never mind!)
Anyway, as I was saying, trying to master fifty pages of music makes it very difficult to retain one’s focus.
One would rather stumble through as many pages as possible.
For example, to play the next two bars of pianistic gymnastics from the space, how slow should it go?
This has caused me to do more slow practicing than I have ever done.
Moving slow enough for the hands to feel like they are aware of where to go next.
This sets up a platform for one to increase the speed the next time around.
Because one is moving slow enough to to program the hands to know…
and to remember which finger
goes where without one having to remind them.
It is only by creating this auto-muscle memory that one can play clearly and economically
even as the tempo increases.
It’s a great lesson for jazz players, isn’t it?
It’s causing me to amend my idea of slow as just a precursor to fast execution,
but as a phase that deserves full attention and as much time as needed for muscle memory to manifest.
Kenny Werner
{ 8 comments… read them below or add one }
Kenny,
I think you hit the nail squarely on the head with the muscle memory development! Speaking personally, I know that I would cheat myself out of the opportunity to really “get” fast passages because I was starting out too fast. What’s the old saying? Putting the cart before the horse? Yup – that’s what essentially happens…
Great article!
Sincerely,
Keith Fiala
Trumpet Resources.com
I look forward to your posts, for the practice of staying in touch with these ideas is as important as the practicing at the instrument.
Thanks for putting this stuff out there. It has changed my playing, my enjoyment of music, and consequently, my life.
Thanks Kenny,
Its always interesting to hear your thoughts on music. Its a wonderful exercise to play something slowly. I have found that it is actually more challenging musically, just as it seems easier to play more rather than less.
All the best
Barbara
Kenny as a painter my eyes and my perception of what I am seeing and my hands have to all collaborate when learning. Yes there is “muscle memory” to manifest but really behind that is a slow energetic transformation happening from that source of power and inspiration that I experience as a presence sitting above and slightly behind my head ,down through every cell in my head ,neck, shoulders to my chest and then out and down both arms to my finger tips and then outwards into the work. Our creating is a magical process that changes us. Allowing that process to take place by not FORCING the muscles to perform is true “slow”!
Kenny,
This is such good and valuable advice! Playing fast to practice playing fast has never worked for me – and flys in the face of every teaching guidance I’ve had over my years of clasical/jazz study.
I hope all will read and re-read this post as it is confirmation of the practice teaching of many of the great pianists.
I am already rooting for your success in the complete performance of Mr. Koppel’s work, as well as your own and that of his son’s! You are a truly gifted and dedicated musician.
Atb
Bob Beck
same principle as why people for centuries have practiced tai chi martial art slowly…and repetitively, it prepares the body and mind for action, without thinking, it becomes like a natural gesture when applied in the situation….and has power too…
I love this advice and will be revved up to start working on something with this in the works! I always feel as tho Kenny was inside the piano, telling me secret messages. Anything is possible!
Thanks for the Post Kenny . We all need more Adagio in our lives. My heart ached after watching your stunning video ( I didn’t know you had a lost a beautiful daughter). Thank you for being such a source of inspiration for me. I’m a much better musician thanks to you.