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Piano Lessons: Full Chart Slow Piece

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let's talk about how to full chart a slow
lyrical piece.
We're going to follow all the same steps
but again we need to adjust the steps for
the piece in order to get the most out of
the practicing and
of using the flow chart.
So, first let's talk about the final
The way that you'll go through the final
speeds is very similar to a fast piece.
So you'll have your one time performance.
And we talked about in the fast piece that
it's a great way or a great time to send
in a video and post it on your student
page to get feedback from other students.
You can also just play it for anybody that
you're living with or
even playing it over the phone for
It's just great to play it knowing that
somebody's going to be listening to it.
Your brain actually puts off different
chemicals when it knows that
somebody else is listening.
So no matter how much you practice you
always need to be able to play it for
somebody else to really know how your
doing on your piece.
You'll also do the one time where you do
it perfectly.
And we talked about in the fast practicing
a fast piece with the full
chart how to do the x game.
And you can do the same thing with the
slow piece.
So if you want to learn how to do the x
game go back and
watch the video on how to practice a fast
piece using the flow chart.
And then the third way is you do it with
the metronome.
Now, for a lyrical piece, you can leave
that step out.
Still play it through fast, so you're
doing three fast play throughs, but
just don't do it with the metronome.
Mostly because lyrical slow pieces usually
have a lot of vibrato,
which means you're going slightly faster
and slower throughout the whole piece.
And, so we can leave that metronome off
and just play through it again.
So it's kind of like doing two
So let's talk about how to do the medium
Now just like with a fast piece,
you're going to do your medium speeds with
the music.
And especially with a lyrical piece,
you wanna be watching all of your musical
But this is where it gets a little bit
different than you might think.
So for a medium speed, you'll wanna go
it's a slow piece so three to five.
Sometimes you'll just want to go three
speeds slower.
Otherwise, it gets too slow because your
tempo is already slow.
So, for an example, let's use Winter
which is on page 35 of your repertoire,
grade six.
So this is marked at 50, [SOUND]
to the dotted half note.
So, it's supposed to beat one time for
every measure.
I'm just gonna time this out by three, so
it's easier for me to hear, for now,
to around 152.
And that would be ticking, one beat for
every quarter note.
And I'm gonna move it down five speeds, so
one, two, three, four, five.
Okay, that's okay, that's not too slow for
this piece.
Now, the trick with medium is you do need
to play it completely rhythmically
straight, that means no vibrato.
You don't do any retards, you don't do any
slowing down, speeding up.
You keep it totally straight.
You also still play it as musically as you
possibly can.
So that means you're still shaping, you're
still doing all of your dynamics,
all of your phrasing, but you don't do
anything with your rhythm.
The reason for that being, is as you
practice and are doing your rbato, you,
you start becoming insensitive to the time
that you're taking.
So in a place where you take time you'll
stop hearing that you're taking time.
You just get used to it and you don't feel
like you're taking time anymore, so
you start taking more time to feel like
you're taking time and
then you take more time and pretty soon
everything is really exaggerated and
you're rubato is ruined because it's going
too too fast and too slow.
The differences are too large.
So you have to practice lyrical pieces
with the metronome straight at least once,
if not twice, if you medium tempos with
the metronome.
So, for example, in Winter Scene.
Here's a little bit of it without the
You'll hear a lot of slowing down and
speeding up.
Now, here it is actually straight.
So with my metronome you'll hear.
I'm still going to try and make it sound
beautiful with the shape and things.
Everything else is gonna be the same
except for my rhythm.
I'm not going to take any time, so.
So you'll see I was taking a lot of time
but that kind of centers me back to where
my beat actually is.
So to do good rubato you have to always
have your rhythmic foundation solid so
you have to know where your beat is.
So you know where you're moving around.
Otherwise it can get really distorted your
rubato and
then it just sounds kind of schmalzy.
So, if you play it straight every day,
then you can feel like you can do as,
as free as you want when you're actually
playing it through
without being worried that it's getting
too exaggerated.
Let's go on to talk about how to practice
it slowly.
So in a fast piece we have a lot of
technical passages, where we're gonna
throw in a lot of muscle builders, and a
lot of just straight technical work.
In a lyrical slow piece, it's a lot of
musical practice.
So when we practice the right hand alone,
we'll actually still practice it up to
But do do it, do practice it right hand
But really focused on the right hand line.
And the musical aspects.
It just lets you focus on that right hand
by playing it alone.
So you'd play right hand.
A couple of minutes, so release a lot.
then don't practice with paddle just your
right hand alone.
Now, when you're doing your left hand,
you'll also play at the tempo button.
But do use your paddle cuz usually you
also practice but
make sure your paddle is not blurry and
that you have control over your paddling.
So in left hand.
And in this, too, you'll see the
double-stamp, so
I'm really trying to focus on bringing out
my fifth finger.
practicing the left had alone just gives
me a little more time to focus on.
What's going on in the left hand, whereas
when you're playing a lot of time,
your ear is on the melody, so it's usually
on the right hand.
And then the hands together slow you can
do it, up the tempo, but try doing it
without the pedal, to hear that if you can
really use your fingers to play legato, to
make sure that you're not doing any sort
of relying on your foot to play legato.
So you can hear, I didn't do any jumps.
A lot of times,
you'll get lazy, and you'll get lazy in
your legato playing, and have your foot
start playing all the legato for you, and
it does change your sound.
Even though it sounds legato, because of
the pedaling,
you really can hear a difference in your
So, the, hands together slow practice, in
a slow piece,
is really at speed but using no pedal and
really working on your legato sound.
So that is how you practice a slow piece,
using the full chart.