Practicing Notes “You don't have to sweat blood to practice well”
Have you ever heard an acquaintance mention that they never completed their music lessons because he or she either lost interest, or it was boring, or it was soon engulfed by other interests? I suspect this sentiment is universal. Robert Dumm who was a master teacher and composer/ author shares his thoughts In Sheet Music Magazine about the student's relationship with his piano. Don't try to be perfect, he says, just start with playing and continue on. Take possession of the piano as a “touchy” guitar or side kick while you begin to “colour its tones”, shaping them like a “potter and his wheel”. Dumm can imagine the keys as the piano's “skin” responding to the movement of the finger tips. By letting the piano become an extension of our own body just as an amputee becomes used to his artificial leg we are not thinking of being "at" the piano. In the same way Dumm stresses that practicing can be thought of as an experiment to bring out the best of what is there rather than just reproducing music. We know that what comes out of playing a piece can never be duplicated in the same way so Dumm points out there is no right way to play a piece of music. Part of getting close to the composer is accomplished by focusing on interesting parts, letting some of the author's implied melodies emerge, and relaxing in silence while hearing the music in ones head. Dumm emphasizes that you, the player, are the prime instrument of this creation. We can let the music fill us with its rhythm and breathe life into it. Dumm claims that with this perspective, practicing can never be that dull or difficult now that we've transformed “duty into an attraction”?
From “Under the Spell of Practice” by Robert Dumm, Sheet Music Magazine Aug/Sep 1986
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