My Guide to Learning New Music

A new piece of music is like a new book in that it is an adventure waiting to unfold.  A musician studying new music may use certain planning strategies for the best results.  Through my experience studying piano for ten years, I have developed a plan for learning new music more quickly and effectively which includes studying the background of the music, focusing on process not product, and finally performing in an attempt to convey a message.

Before I begin working on a new piece of music, I find it extremely eye-opening to study the historical context of the work.  I have been fortunate to perform concertos with different orchestras in each new area I have lived.  I try to understand the music and the composer.   Knowing about the inspiration for the music, the life of the composer, and the context of the work can positively change a musician’s understanding of emotions in the piece.  For example, I worked on a concerto with an orchestra and choir.  Through my studies of the work and even translation of the lyrics, I discovered that it was a piece attempting to unite the world in brotherhood and love for one another.  This work of Beethoven was now making a huge and meaningful impact on me.   I would no longer think of it as just notes and figures, but as a powerful outcry for unity, strength, and ability to overcome hardship.  The rest of the learning process would prove to be more rewarding, as I was now working on conveying emotions to the audience, rather than just playing notes.  I also enjoy collaborating in ensembles and with other musicians, and always discuss the music and historical context of the piece to better interpret the work.  Whether you are going to learn a concerto, ensemble, or even a solo piece, researching the work is a huge part of understanding the emotions and purpose of a piece, so you will be better equipped to interpret the piece and convey the emotions to the audience.

The next important step in learning a new piece after having researched its historical context is to devise a practice plan using strategies for more effective manipulation of the new material.  Eager musicians may attempt to play through the new music in its entirety at full speed.   While this may yield some short term satisfaction, it will become increasingly difficult to digest the piece and its components.  One teacher I have studied with appropriately stated, “focus on process, not product.”  When I am practicing a new piece, I try to break the piece into smaller parts and set goals of what I want to accomplish in each practice session.  Through my experience and working with other students and teachers, I have learned new practicing strategies.  A big step in understanding the new music is deciding what parts are of more importance than others.  Once I have broken down the music into different lines and parts, I can manipulate those parts.  As a pianist, I may decide to practice hands separately, or practice with a metronome to keep the tempo better, count out loud while playing to feel the direction and growth of the music, skeletonize or playing only the notes that fall on the beat, or even just playing the harmonies of a phrase.   I feel that practicing may range from general strategies which help digest the piece in increasingly bigger parts, to more specific technical strategies to better learn a difficult passage or group of notes.  Remember, acquiring technical proficiency of the music is important, but using your knowledge of the historical context of the work and composer’s inspiration will allow you to uncover the musicality and emotions engrained in the music.  Ask yourself, “what is significant about this passage?” and “what is the composer trying to say?”  The bottom line for any instrumentalist or even vocalist learning new music is that it is necessary to break the music into smaller components and set goals using practice strategies to work from small to large parts.  You must feed the music to your brain in a measurable way in order to assure maximum retention of the technical and structural qualities of the work as well as discovering the musical and emotional elements on the way.

After the musician has comfortably learned the piece technically and musically, it is extremely beneficial to perform the work for others, as sharing music to the public helps the musician convey emotions, purpose of the music, and even a specific message, as well as building confidence.  The better the musician understands the music and its context, the more able he/she will be to make an impact on others.  Also, performing a new piece for the first time can be nerve racking, but it is a vital step in allowing the piece to breathe and become more natural, alive, and “seasoned.”  You will soon learn to turn the nerves into positive energy to benefit the music.  Through my experience studying different genres of music and types of pieces, I have realized that technical proficiency in music ultimately serves the musicality and emotional elements of the music.  The more you perform new pieces for audiences, the more you will learn to focus on emotions and conveying a message to the audience.  One time, I expressed concern about messing up a difficult passage before a performance and one of my teachers remarked, “No one is coming to hear you mess up or listen to notes.  They want to enjoy the music!”  Performing new music is a chance for the performer to practice conveying a message through music, and through this experience become more comfortable and able to do so.

A new piece of music is a new experience, but new music is also an opportunity to become a better musician.  Through research, planning in practice, and performance, the musician can discover a stronger appreciation and understanding for the music.  In this way, a musician will be better equipped to interpret and convey emotions to any audience.  After all, I feel that telling a story through the music, whether jovial or more somber is the major end goal and a huge element of sharing in the timeless joy of music.