| Slow Practice | | | | that of playing fast, resulting in an inability to increase |
| One of the benefits of slow practice is that it can be | | | | the speed. Obviously, playing at a slow tempo with the |
| part of a varied and structured session of piano | | | | wrong technique will not benefit you. However, if the |
| practice. The piano teacher, Joan Last affirmed that 'all | | | | right technique is exaggerated when playing slowly, |
| wise pianists practise slowly, indeed it is a vital factor in | | | | when the movements become faster, those |
| the overcoming of technical difficulties.' A further | | | | movements can become smaller and more efficient. |
| benefit of slow practice is that the visual, aural, | | | | A student may become bored with practising slowly, |
| analytical and tactile aspects of the memory can be | | | | and the mind can become passive as the tempo is |
| improved, while also providing a way out of the trap | | | | slowed, which is linked to the other common pitfall of |
| where learned movements become so automatic that | | | | losing the character of a lively piece of music when |
| the mind is no longer actively learning. | | | | the tempo is slowed. Articulations become lazier, and |
| | | | the mood of a bright piece of music is turned into a dull |
| This would mean that the visual memory of the | | | | interpretation because of a slow tempo. One of the |
| keyboard (where to put the fingers, changes in hand | | | | benefits of slow practice is that details in the music |
| position, visual landmarks on the keyboard), analytical | | | | can be absorbed by the mind more easily, and that the |
| memory (of structure and tonality, for example) and | | | | artistic image of a piece can be worked on from the |
| the aural memory of the music (such as direction of | | | | beginning to the end of learning a composition. If this is |
| the melody, or the changes in harmony) can be | | | | kept in mind, boredom and incorrect interpretation can |
| consciously absorbed to supplement the tactile | | | | be avoided. |
| memory, which is the first kind of memory a pianist | | | | Another pitfall of slow practice is that progress may |
| acquires in the memorisation of music. | | | | be stalled if slow practice is used as the only way of |
| I will now explain the pitfalls to be avoided during slow | | | | practising. The answer is to include other practice |
| practice. The solutions to the problems encountered | | | | techniques like hands separate practice, structural |
| when using slow practice as a method of practice are | | | | practice, mental practice away from the piano and to |
| easily found in the correct application of the benefits | | | | alternate slow practice with faster playing. The most |
| previously mentioned. | | | | productive way to practice is to be motivated to |
| One of the pitfalls of slow practice is that the | | | | improve, listen critically to one's playing, and keep the |
| movements used when playing slow are different to | | | | goal of the artistic image clear. |