If you are a rock climber standing in front of a brand new boulder, chances are that you would not attempt to climb it without properly examining it first and spending some time mapping out your course. Of course not, your life depends on the choices you make. You would want to figure out where to grip, where you will have to swing, where to place your foot. You might even schedule to train on specific parts of the course if possible until you can figure out what the exact route should be for the ultimate climb.

Similarly if you are faced with a brand new music piece, jumping straight in without a plan will not be ideal. And although your life will not depend on it, your overall satisfaction and cofidence will.

Most new songs appear intimidating, which automatically sends many of us into a confusion spree often followed by doubt, the unpleasant feeling of reluctancy, and “I don’t want to do this” thoughts. What is even worse is that a lot of students decide to stop playing their musical instrument not because they are not capable but simly because they do not enjoy practicing. They feel overwhelmed, annoyed, and they do not feel they are good enough.

So how do we get past these feelings?

We come up with a plan and map out our course.

I would like to share a basic version of the method I use with every single one of my students to help them navigate through new pieces and conquer their discomfort and fears. I prefer to create a checklist version of this and give it to them to have on the piano at all times. It is a bit overwhelming at first but with a bit of practice it becomes something that most do without even thinking about it. I hope you find it useful.

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Figuring out a song is a two to three stage process (depending on the age of the player and their level).

Stage One: Getting to know the song

* Depending on the complexity of the song you would like to split it into a few sections, ideally working on 4 – 8 measures at a time. This will lower the intimidation factor and increase satisfaction as the student focuses on each goal and gets a clear view of what the song should sound like. Remember! No one likes to work on a project without knowing what that final project is. Similarly, playing a song you do not know is not going to be fun. It will sound like a bunch of random notes without a steady beat. Splitting it into small sections will make it more manageable. It will also help you figure out faster what the song is suposed to sounds like.

1. Melody:
   During this part you should look for patterns that are: the same; similar; or completely different and more complex. You want to know which ones are more difficult so that you can spend a bit more time on them and bring them up to the same speed and stability as the rest of the song. More complex parts are often the ones where you stuggle to maintain a steady pace. For examle big jumps, weird finger runs, or a hand position change (just to name a few).
   
2. Rhythm:
   This step is cruicial and yet I see so many people fail to spend the necessary time to figure out the song’s rhythmic alignment. This is the equivalent of trying to solve a math problem without knowing the formula. But what exactly is rhythmic alignment? It is the formula by which every note is played on the correct beat, while following a steady count. How much time is required to figure out the pattern depends on the complexity of the song. Here are a few tips to consider:
   
   If the song appears fairly straight forward in terms of rhythm, count at a steady pace following the time signature. Then begin to align each note with the correct beat that is should be played on in a slow and steady pace. Slowly increase the speed to be able to hear the rhythmic pattern more clearly.
   
   If it looks more complex then extract each measure and conduct, what I call, a dry count:
   1. Establish what your fastest note is and adjust the counting accordingly. For example if you have many 8th notes and your time signature is 4/4 you want to count 1 + 2 + 3 + 4 + (each 8th note will get a number or “and(+)” .
   2. Match each note to the beat on whch it is played. (A quarter note will get both the 1 and the + for example)
   3. Clap the beat while counting out loud until you can do the rhythm in a steady pace and you can hear the pattern clearly.
   4. Procceed with clapping without counting outloud (this will allow you to hear the rhythmic pattern much more clearly)
   5. Add the notes while trying to mimic the pattern as much as possible. If you feel like you might be losing track of the pattern go back to stage 4 or 3 and refresh what the beat is supposed to sound like.
      
3. Flow
   This step is often ignored by many and as a result the song tends to be played rushed and uneven. It is important to spend time on stabilizing and putting together all the parts that you have been working on so far. It allows you to hear a slow and steady version of the song. It helps your brain piece it all together and gain an insight into what the final product should sound like.

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Stage Two: Perfecting The Song

1. Speed:
   Set the metronome at a slow pace that will allow you play the whole song with minimal interruptions and hiccups. Slowly begin to increase the speed by 5 until you reach your desired range.
   * I always recommend to try and work your way up to the highest speed that is assigned for each song. You can always scale back and play it slower if you want.
   
   Sometimes you might notice that it is a bit challenging to play at the pace that you reached the previous time. Do not despar! It is normal to be a bit rusty during the next practice. If that happens, just scale a few points back and try to work your way up again.
   
2. Pedals:
   Adding pedals for the first time can be a bit overwhelming for some, as it is another thing that you have to think about amidst everything else. If you happen to find that a bit tricky rememer that it will only be tough until it becomes integrated subconciously, just keep working on it. I find it easier to break the song into parts and add the pedal one section at a time
   
3. Dynamics:
   Now this, is a very powerful tool and knowing how to use it effectively can turn a musical piece from a well played string of notes into something grand and beautiful.
   
   Some songs will not need much tampering with the dynamics, others will have a wider range with a lot of crescendos and diminuendos. If that is the case then you would like to focus on small sections at a time until you feel comfortable with your dynamics expression. When you finish working on one section tackle the next using the same method then stitch them together. Proceed in similar fashion until you have worked on the whole song.
   
4. Accents:
   Adding the accented or stressed notes is not a comlicated task. Usually, all it takes is just bringing attention to that part. However every now and then, there comes a song with more pronounced accents or syncopated stressed notes, which might require a bit more attention. If that is the case, I would advice to double back a measure or two and play just until the note in question (including it). What you are looking for is to work out the flow leading up to the stressed note and then execute the right amount of intensity with your wrist drop. When you are happy with the results add a measure or two and repeat a few more times.

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Stage Three: Channel The Inner Virtuoso

1. Phrasing:
   Playing the song the way it was intended to be played is great but what differenciates a good player from a great one is the way they interpret it and express it. A phrase is a form of musical expression. A very basic defininition would be that a phrase is a musical sentence that is defined by a light ending note (played in tenuto mode) usually assisted with a wrist lift.
   
   Think of a phrase as the difference between reading out poetry in a regular conversation like tone versus in a more dynamic and expressive way. Knowing how to manipulate phrases is a poweful tool, which can turn any song from a well played piece into a masterful performance.
   
   Phrases differ in length, intent and intesity depending on the piece. I would advise to designate a fraction of your practice to working on specific phrases in the song as a drill, with occasionally playing the whole song to give you a chance to experience the it from a macro level.
   
2. Emotional Expression:
   Every song has its own sound character, rhythmic imprint, emotional DNA, its own personality if you may. There comes a point where focusing primarily on playing the correct notes and adhering to the rhythm in a steady pace will no longer be enough. It is important to understand the emotional nuances of each song and express them through a plethora of tools.
   For example, do not be afraid to apply your own dynamics, ritardandos, accelarandos and even create a few empty spaces if the song allows. Sometime, I find that making a specific rest more pronounced, leaving the audience with a bubble of uncomfortable silence, is just what is needed to enhance their pleasure once the melody begins again.
   
3. Choreography:
   This tool goes hand in hand with phrasing and emotional expression. It refers to the way you move your wrists, elbows, and your body as you flow through the various parts of the music piece. There is something increadibly breathtaking when you watch a pianist “move” with the song. The way they lean in and colapse their shoulders when the sound is meant to be small and how they lean back and open up as the melody grows bolder are just a couple of examples of an increadible vast amount of movements. This is a highly personal experience and it varies from player to player.
   
   One of the best advices I can provide for players who are in this phase is to record yourselves playing and watch it at the start of your next practice or before you fall asleep. Why not right away? Because, I find that if you let your brain rest a bit, you are more likely to notice subtle things, easily missed otherwise. The truth is that most of us do not have a clear concept of our overal appearance and sound. While we play our attention is focused on micro elements. We might think that the forte we just used is loud or the wrist lift we applied at the end of that phrase was big but in reality they are not. Being able to study yourself is a bit intimidating but it helps gain a birds-eye-view of your overall performance.

Unfortunately stage three requires a lot of trial and error, attunement, and reflection, which takes years to master. However, with a clear action plan and rational feedback one can see themselves at the finish line faster, while feeling less annoyed. Remember that everyone has their own style. To find, which one appeals most to you I recommend to watch performances of the songs you play (after you have learned them) and make notes of what specific movements, dynamics and expressions you like.

I hope you find this useful!

Good luck!!!