Some ideas from Dave, a very enthusiastic mature adult beginner piano student. Margaret's comments follow each of Dave's one-line points.
1. Always look for a pattern with each piece of music.
Every real musician instinctively does this. Or maybe they've learnt it, because the skill of analysis can take a while to develop. This is done through analyzing the shapes and other features of melodies, chords etc in the pieces the student is currently studying. The results of a bit of eye study can be a DRAMATIC improvement in playing, learning, memorizing, and enjoyment.
2. Try and practise with half of the music covered.
Learn and memorize the easy part first, e.g. the right hand part of ColourKey Piano Technique No. 5. Then cover that stave (part) with a book or a piece of paper, and practise playing with both hands. This helps you to concentrate on the hard part when you play with both hands.
A related technique is to simply practise and try to memorize the easy part first (using no covering of the score), before playing with both hands. The principal here is that you don't want to have to think too much about the easy part, you've got to be free to concentrate on the hard part without any distraction.
- 3. Write out the major scales and memorize the sharps and flats [learn them
- by rote].
It's interesting that Dave should say this, as before this point he was exceptionally keen to learn theory not by rote but by trying to understand the concepts. Learning theory by concepts is very important, of course, and I for one really enjoy teaching the concepts. But musicians (and theory teachers) should always remember that when they see or hear a chord themselves, and instantly recognize it as, let's say, a G7, they're so quick at it because they have really learnt it by rote. I know why it's a G7, but after all my training and experience I don't really need to think about why. I just know what notes make up a G7 chord.
So, please don't underestimate the importance of rote learning. You will never be fast enough if you always have to work it out.
The same principal applies to reading the note names from the staff (stave). Do you know that "Every Good ..."? Next question: do you have an ERASE button? Maybe just behind the ears? Using limericks like this one is often a stumbling block to true note reading. Try to forget them if you have already learnt any limerick tricks for the lines and spaces.
4. Make sure you count aloud (as per time signature) when learning.
Yes, well, Dave m'lad, I couldn't have said it better. The ability to play rhythmically, with control of rhythm and tempo, is crucial. This may not be obvious to the beginner student, but it will be VERY obvious to everyone who hears them!
Understanding rhythmic concepts is not enough; continuous regular practise of rhythms and counting is vital.
There are many ways to go about developing this skill. One way is to learn the skill of counting when you're playing pieces with easy rhythms, so you can really count when you have a piece with difficult rhythms. For example, counting aloud as you play the continuous quavers/eight notes in Busy Insects may seem completely pointless. But it will prepare you for counting aloud the more difficult quaver rhythms in the Prayer of the Swinging Mantis.
The main thing to understand is that counting is a fundamental skill which needs its own practise.
5. Have a regular practise timetable and do more if possible.
Writing down your plans is extremely effective. You should actually WRITE your practise session in your normal diary or calendar. Practise as soon as possible after each lesson, i.e. the same or next day. Don't leave it for a couple of days as you will inevitably forget or lose some of what you learnt at the lesson.