The process whereby it migrates from one category to the other is known as practising.” - Yehudi Menuhin “There is no such thing as a difficult piece of music. In theory, if we listen to our bodies and study with a smart, open attitude and approach we should be able to get to the point with every piece where playing feels easy. Technical difficulty depends on myriad factors physical stature, natural facility, strength, flexibility and that’s before we even start to look beyond physiological build and explore how the brain works or how we each interpret musical phrases independently of each other. How many times have I been to competitions where juries feedback that some repertoire choices weren’t advanced enough.
Music is an art form and being creative with ergonomic edits can save you a lot of time and grey hairs, there’s no such thing as cheating in music! In general being faithful to the musical fluidity of a piece is more of a priority than being 100% faithful to the manuscript. Remember in the practice room that your priority should be delivering on the elements of a piece that you have put at the top of the musical food chain, do not be afraid of simplifying passages by omitting notes or changing subtle right hand patterns. We all have an awareness that stripping music down to its core elements, both musically and technically, is the road to success in the learning process and even beyond to the concert stage. In the study of music, simplification comes in many forms. "Always remember that the reason you started working was that there was something inside yourself that you felt that if you could manifest it in some way, you would understand more about yourself or how you coexist with the rest of society." - David Bowie Music exists to be enjoyed, not just by those listening, but by the player, so remember that first and foremost studying should be for you, your enjoyment and little else. There are many reasons to play certain pieces, and not all of those reasons point to playing them in front of an audience - however small. Not all the pieces we play have to make up our concert repertoire, and that is ok. Different pieces have different purposes in your process Things to remember First off, some things to remember as you work out where to go nextġ. Well we’re here to help you work that out! But how should we select repertoire? Where do we start? Where do we go from the pieces we already have in our repertoire? The notion of bypassing the traditionally allocated months and years of practicing siloed technical elements is at the very least an exciting prospect. There is a school of thought in classical music that all progress we wish to make on our instrument can be achieved solely through exploration of pieces, should we conscientiously select our repertoire.
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