Learning by fragments

This card series is the most comprehensive. It is designed to help you learn a section of the new piece you are currently working on. Organized into 3 steps (each taking roughly 20 minutes), it includes 54 cards.

We recommend starting by carefully reading the description on each card before attempting the exercise. During your practice, keep the card visible so you can focus on the instructions. Place your smartphone on the music stand and move to the next card once you feel you have completed the previous step by swiping on the screen.

That said, depending on your progress, you are free to spend extra time on a card or skip it. For instance, if marking the pulse bars seems unnecessary, you can skip that card. Likewise, if another card proves challenging, you can move on without getting stuck and continue with the following exercises.

 15 minutes

The first step is a preparatory stage where we approach a fragment of the piece, up to 8 measures, in the manner of a conductor. This preparation is essential for forming a first impression of the piece (or one of its fragments), which we will gradually bring to life in the next two steps.

This stage includes 14 cards:

1. Setting the conditions

2. Stretches

3. Calmness and enthusiasm

4. Without trying to prove yourself

5. Choosing a fragment

6. Writing in the measure numbers

7. Defining the direction

8. Noting the keys

9. Identifying the harmonic rhythm

10. Defining the “sound image”

11. Noting the beats

12. Conducting while humming

13. Conducting while humming from memory

14. Writing in the fingerings

Before starting your practice session, make sure that all conditions for focus are in place.

• Trim your nails
• Put your phone on silent
• Let those around you know you need quiet
• Prepare all the materials you will need – the sheet music (tape the pages if necessary), pencils, metronome, etc.

Our body plays an active role in the learning process. Before starting your practice session, it’s important to wake it up. Do a short series of stretches you are already familiar with, or choose the stretches that seem most appropriate from the Stretches category.

Take three deep breaths and imagine yourself soon becoming the musician who has mastered the section of the piece you’ve been aiming to play.

It’s essential to remember that when we are learning something, we don’t yet fully master it. There’s no need to prove your skill right from the start. Similarly, trying to learn too quickly can be counterproductive. Absorbing new information and skills will take the time it needs—no more, no less. Be patient and allow the process to unfold at its own pace.

It can be challenging to maintain focus on an entire new piece. That’s why we suggest thinking of it as a series of short musical sections. We will call these sections fragments, each spanning 2 to 4 measures.

• Choose a fragment to work on.

• When applying the exercises that follow to your chosen fragment, stop at the first note of the next fragment (on the downbeat).

• Avoid going beyond the fragment you have decided to work on.

To better understand the uniqueness (or cohesion) of the fragment you have chosen, write the number of each bar above the bar line.

Suppose your fragment has 4 bars. In this case, write the bar numbers in reverse order, as follows:

“4” for bar 1;
“3” for bar 2;
“2” for bar 3;
“1” for bar 4.

This reverse numbering is very useful, as it shows the number of bars remaining before the next fragment.

This notation will be helpful when you perform an exercise in which you play while saying the bar numbers aloud.

Try to identify the notable musical event in the fragment you have chosen. This could be a dynamic change — a forte, a pianissimo, or an accent—or even a harmonic color that stands out from the rest. Often, this event is preceded by a “progression” —crescendo, diminuendo, accelerando, ritenuto, etc. Like an important star, this event acts as a kind of “center of gravity” that draws in the musical material, also known as a “climax” or “high point.”

Noting the keys is useful for creating a kind of mental map marked by milestones, which will guide your journey through the fragment you are working on.

The “harmonic rhythm” refers to the rate at which the harmonies change. Often, a new bass note (the lowest note) signals this change.

Notice these changes and keep track of how many different harmonies appear in the section.

If possible, notate them using chord symbols.

This information will be useful later in the “Choral” exercise.

“Sound image” refers to what the music represents for you. Ask yourself what “story” lies at the heart of the fragment you are working on. Does it evoke a particular emotion? Does it remind you of real-life events? During this stage of learning, the goal is to articulate the “deep” motivation that makes you want to play this fragment. This motivation is sometimes called the “artistic task”. Consider what you want to communicate through this section to your audience. Even if your “narrative” doesn’t reach the listener directly, the clarity of your intention will inevitably spark their imagination.

Like a heartbeat, the pulse is a musical pulse that serves as a reference when we listen to music. When we play, it is important to communicate this pulse clearly; otherwise, the listener will not be able to "understand" the musical content. The first step is to identify this pulse. Place the “pulse bars” by drawing lines that cross both staves (this approach is useful because it highlights the coordination between the hands). The space between two bars must correspond to one “beat.” The time that elapses between the two pulse bars is always the same.

BACH – Little Prelude No. 1, BWV 939 (mm. 9)

Humming = Singing softly

Before playing, softly sing the melody of the section as if it were a lullaby, while keeping the beat or conducting. This “song” will serve as a model that you will later elaborate and embellish with your instrument. Remember that dynamics¹, articulations², and progressions³ are all part of the music.

• Conducting in 2/4
• Conducting in 3/4
• Conducting in 4/4

Now that you know the melody, sing the same song from memory while keeping the beat or conducting, without looking at the score. Repeat this several times.

Noting fingerings on the score is helpful for remembering hand positions on the keyboard. By repeating a passage with the same fingering, you will save a lot of time during practice.

Start by trying the fingerings already indicated on the score. If they work well for you, keep them and fill in any missing fingerings. If they don’t suit you, cross them out and replace them with your own.

If no fingerings are provided, write down the first fingering that comes to mind for each note. Try it out, and adjust as needed.

Keep in mind that fingerings may change as you continue learning the piece. As you become more familiar with it, you might find yourself naturally changing fingerings. It is essential to rewrite them on the score each time you find a better solution.

Before continuing, take a short break, because after a period of learning, our brain needs time to “digest” the information. Use this moment to pour yourself a glass of water, stretch, or simply gaze out the window.

 20 minutes

The second step is a very meticulous phase of learning, focused on getting to know the notes and rhythms while working on hand coordination.

This stage includes 25 cards:

1. Listening?

2. Posture

3. Without pedals

4. Slow tempo – smooth connection

5. Noting the left-hand intervals

6. Playing the left hand while singing

7. Playing the left hand while walking the beat

8. Playing the left hand while counting the beats

9. Playing the left hand while counting the measures

10. Noting the right-hand intervals

11. Playing the right hand while singing

12. Playing the right hand while walking the beat

13. Playing the right hand while counting the beats

14. Playing the right hand while counting the measures

15. Playing the right hand while singing the left hand

16. Playing the left hand while singing the right hand

17. Singing / Listening

18. Choral practice

19. Release the wrist, elbow, and collarbone

20. Hands together while walking the beat

21. Walk the beat measure by measure

22. Hands together while counting the beats

23. Hands together while singing the left hand

24. Left hand from memory

25. Hands together with the pedal

At this stage, you have a choice between two approaches:

• Listen to one or more interpretations of your piece (or just the fragment you are working on) to build on a set of references that guide you.


• Deliberately avoid listening to recordings in order to firmly establish the foundations of your interpretation independently, without external influence.

Before placing your hands on the keyboard, make sure you are seated in a way that allows a comfortable and optimal posture for playing the piano.

Here are some tips to follow:

• Choose a stool that is firm enough (but not too hard) so your pelvis is well supported. Avoid sitting in a chair or on a sofa.
• Adjust the height of the stool and its distance from the piano so that your elbows are open at an angle of 100° to 120°.
• Imagine that the white keys extend infinitely behind you, forming a plane. Then place your elbows on this imaginary plane.
• In your mind, visualize a horizontal division of your stool and sit on the half closest to the instrument.
• Make sure your feet touch the floor. If not, use a pedal riser or a support such as a wooden box to fill the gap.
• Maintain a connection with the floor so you can stand up at any time.
• Orient your head so that it “leads” you toward the ceiling.
• Be mindful of the space between the piano and your torso. To better sense it, imagine you are holding a large ball.

Select a tempo that feels comfortable and allows you to maintain a steady pulse without significantly altering the rhythms. Avoid repeating notes or chords unnecessarily. Focus on playing through the entire fragment you’ve chosen in a continuous flow.

Write down the intervals in the bass line and say them out loud.
Do the same for the inner voices as well.

The left hand is itself a broad melody, very different from that of the right hand. It is essential to be able to sing it clearly and memorize it so that it can fully support the right hand.

• Sing the left-hand part while playing, naming the notes as you go. Be sure to sing with attention to the dynamics¹, articulations², and progressions³.

• Without saying the note names aloud, play again and try to hear the note names resonating internally as you play.

Play the left hand, sing, and “walk” the beat while following the beat lines you wrote earlier. Walking the beat means lifting your feet alternately (one, then the other) so that each foot comes fully off the ground and returns to the floor exactly in time with the note being played and sung.

While following the pulse markings you wrote, play the left hand and count the beats out loud. Try several ways of counting:

• Count in a very detached manner, saying “1,” “2,” “3,” “4” sharply and unemotionally, while keeping a steady pulse without speeding up or slowing down.
• Try counting with dynamics¹, louder or softer, according to what is indicated on the score.

To develop a sense of unity within the fragment, play the left hand while counting aloud the number of each measure you noted earlier.

Write down the intervals in the melodic line and say them out loud.

• Sing the right-hand part using the note names while playing. Be sure to sing with attention to dynamics¹, articulations², and progressions³.

• Without saying the note names out loud, play the part and try to listen internally to how the note names resonate within you.

Play the right hand, sing, and “walk” the pulse while following the pulse bars you wrote earlier. Walking the pulse means lifting your feet alternately (one, then the other) so that each foot completely leaves the floor and then comes back into contact with the floor at the same time as the note is played and sung.

While following the pulse markings you wrote, play the right hand and count the beats out loud. Try several ways of counting:

• Count in a very detached manner, saying “1,” “2,” “3,” “4” sharply and without emotion, while keeping a steady pulse without speeding up or slowing down.
• Try counting with dynamics¹, louder or softer, according to what is indicated on the score.

To develop a sense of unity within the fragment, play both hands while counting aloud the number of each bar you noted earlier.

Now reverse the approach: play the right hand alone while singing the left hand. If there are double notes, choose a "path": either the upper voice of the left hand or the lower voice, then switch. Turn the left-hand part (the bass) into a true melody that dialogues with and accompanies the right hand.

Play the left hand alone while singing the right-hand part. If the right hand represents the melody of your piece, you will feel like you are accompanying yourself, which is a very pleasant sensation!

This exercise helps to develop coordination and the ability to listen to two voices simultaneously. At first, it may seem a bit difficult until you get used to it. However, persevere, because you will reap great benefits and enjoy very satisfying fluency!

Sing only when the card suggests it. Otherwise, listen attentively to the sound that arises from your mind and from your instrument.

A chorale is a musical composition that first appeared in the 16^th century, written to be sung in several voices (often four). Depending on the chorale, the writing may be homorhythmic (all four voices singing in the same rhythm) or polyrhythmic (each voice singing with different rhythms). The most emblematic chorales come from the works of J.S. Bach (1685–1750).

In this exercise, you should play all the harmonies homorhythmically (all the notes sounding at the same time, resulting in a sequence of chords) and memorize the fragment you are studying as if it were a chorale. This will help you internalize both the hand positions on the keyboard and the harmonic colors.

Check that your joints move freely and that your muscle tone is not excessive.

To release the muscles between your head and shoulders (the trapezius muscles), gently lower your shoulders and turn your head to the left, then to the right, twice.

Next, make small circular movements to check the mobility of your shoulder blades and collarbones.

Finally, make sure your elbows and wrists can move freely without resistance.

Now play all the notes with both hands together while “walking the pulse.”

Walking the pulse means lifting your feet alternately (one, then the other) so that each foot leaves the ground completely and returns to the floor exactly in sync with the note being played and sung.

Play with both hands together while “walking” only on the first beat of each measure.

Play all the notes with both hands together while counting aloud. You may continue “walking” if you wish.

Play with both hands together while singing the left-hand part.

The left hand is often responsible for the “harmonic rhythm” (the frequency of harmonic changes).

It is important to learn it by heart fairly early when working on a new piece. Approach it as if it were a piece in its own right—perhaps a slightly unusual one. Enjoy that strangeness as part of the piece’s unique charm.

Now it’s time to try your section with the pedal. Rely on the “harmonic rhythm” (the frequency of harmonic changes) you identified earlier to plan a coherent pedaling scheme.

Here are some general pedaling guidelines to adapt to each situation:

• Each new harmony should be accompanied by a new pedal, so the harmonies do not blur into each other.

• Avoid using the pedal during chromatic passages.

• Adjust the pedal by ear, varying the depth of your foot according to what you hear.

• Vary the pedal without necessarily pressing it all the way down.

• Make sure the pedal is fully released each time, without noise, while keeping your foot in contact with it.

Before moving on, take a short break, because after a period of learning, our brain needs time to “digest” the information. Use this moment to have a glass of water, stretch, or simply look out the window.

 20 minutes

Building on the skills we have acquired, this final step helps us complete the learning of a chosen fragment and cement the information more deeply.

This stage includes 15 cards:

1. Posture

2. Micro-groupings

3. Playing on the lid

4. Detailing the articulations

5. Detailing the dynamics

6. Detailing the sound layers

7. Conducting while humming from memory again

8. Playing in your head – imagining the performance without the piano

9. With eyes closed

10. Deciding on the final tempo

11. Metronome

12. Hands together while counting the measures

13. Working on any tempo changes

14. Recalling the sound image

15. Record yourself / Listen

Before placing your hands on the keyboard, make sure you are seated in a way that allows a comfortable and optimal posture for playing the piano.

Here are some tips to follow:

• Choose a stool that is firm enough (but not too hard) so your pelvis is well supported. Avoid sitting in a chair or on a sofa.
• Adjust the height of the stool and its distance from the piano so that your elbows are open at an angle of 100° to 120°.
• Imagine that the white keys extend infinitely behind you, forming a plane. Then place your elbows on this imaginary plane.
• In your mind, visualize a horizontal division of your stool and sit on the half closest to the instrument.
• Make sure your feet touch the floor. If not, use a pedal riser or a support such as a wooden box to fill the gap.
• Maintain a connection with the floor so you can stand up at any time.
• Orient your head so that it “leads” you toward the ceiling.
• Be mindful of the space between the piano and your torso. To better sense it, imagine you are holding a large ball.

Chunking the notes

To chunk – breaking into pieces

Just as in verbal speech, musical phrasing is organized into sentences made up of words with several syllables. We will call these words “chunks.” Within each measure, divide the musical line into small groups of 2, 3, or 4 notes (no more). Play these “chunks,” pausing on the last note of each group.

Then, link them together smoothly while keeping the separation between groups in your mind—but of course, do not make it audible. You will likely notice that the entire section becomes clearer both for you and for your listener.

This exercise is particularly helpful for clarifying fast passages.

When done with care, this exercise offers many benefits. It helps you memorize your fingerings, become aware of the pads of your fingers, and learn the distances between the keys. It also trains you to imagine the sounds and immerse yourself in the “sound image” of your piece, thereby creating a “narrative.”

For this exercise, play your piece on the piano lid or on a table while singing, and then without singing.

It is true that this exercise can be challenging and unsettling. At first, you may forget your fingerings or find it difficult to “play.” Don’t worry—this requires an unusual kind of mental dissociation. If it happens, calmly return to your score and focus on a small section of the fragment you are working on. Play it slowly on the piano, then repeat it on the lid.

The passages that feel most challenging on the lid are often the very ones that need the most refinement.

Now focus on the details of the articulations¹.

______________
¹ Articulations : legato, staccato, tenuto. These are the different ways of connecting or separating notes: linking them smoothly (legato), detaching them (staccato), or paying special attention to how each note is held and released (tenuto).

Now focus on the details of the dynamics¹.

 Download the dynamics sheet

In most pieces, you can distinguish three layers (or planes) of sound: the melody, the bass, and the accompaniment. It is important to establish a hierarchy among them. Here are their characteristics:

1. The melody is a musical line with a strong identity, easily recognizable and often simple to sing and memorize. It usually lies in the upper register and is generally the highest line (except in rare cases where it appears in the middle or lower register). The melody should be placed in the “foreground” of the musical texture, meaning it should be clearly more prominent than the other layers.
However, it is essential to remain attentive to the hierarchies between notes within this voice. Even though it is dominant, this does not mean that every note should be played with the same dynamic.

2. The bass serves as the foundation for the harmonies. It occupies the “second plane” of sound—less important than the melody but more important than the accompaniment. It is the lowest line.

3. The accompaniment is the least prominent layer, situated between the extremes.
However, it provides harmonic resonance, supporting and adding depth to the melody and bass.
It is important to note that this layer can, of course, be subdivided into multiple sub-layers, which would be imagined as played by different orchestral instruments.

Example¹:

Now that you know the melody, sing it from memory while keeping the beat or conducting, without looking at the score. Repeat this several times.

• Conducting in 2/4
• Conducting in 3/4
• Conducting in 4/4

Now project yourself more specifically into performing the piece. Close your eyes and imagine that you are actually playing.

• Picture how your torso and arms will move when you play “for real”

• Visualize how you will place your fingers on the keys

• Imagine the distances between different intervals

Envision all the movements you will make to perform the piece. Run through this “choreography” in your mind while keeping a steady pulse. Start slowly and in small sections, then gradually increase the tempo while connecting the sections smoothly.

To refine your mental representation and create a smooth transition to playing at the keyboard, play the fragment several times with your eyes closed.

Deciding on the final tempo

At this stage, ask yourself: “What exact tempo will I play this fragment¹ at in performance?”

We suggest comparing your understanding of the composer’s tempo marking with 3 to 5 interpretations by your favorite pianists. Then, notate this tempo on your score in bpm².

Keep in mind that this value may evolve over time.

Working with the metronome

Rhythmic precision gives a special dimension to our musical expression. When working on musical timing, using a metronome can be very helpful, as it indicates the pulse and highlights any deviations from it. It is crucial to study a fragment with extreme metric accuracy, in order to later allow for expressive flexibility and explore a “living time.”

It is important to note that the metronome is merely a tool to establish and check the rhythm. It should never be considered a guarantee of expressive playing or an end in itself.

• Metronome increments: Set the metronome to a tempo in which you feel comfortable. Play the passage several times. Then increase the tempo by 3 to 5 bpm (beats per minute) and replay the same passage. Continue increasing the metronome speed until you reach the desired tempo, then gradually return to the slower tempo you started with.

  
  BEETHOVEN – Sonata Op. 14 No. 1; 1^st movement (measures 1–2)

  
  

• Off-beat metronome: The metronome now clicks on the weak beats. This exercise may seem challenging at first, but once mastered, it will greatly enhance your sense of pulse.

  

  
  

• Measure metronome: The metronome now marks the entire measure (very slow beat).

  

To develop a sense of unity within the section, play hands together while counting aloud the number of each measure you previously marked.

At this stage, detail all the tempo variations indicated by the composer.

Remember the “story” you want to convey with this fragment.

When we play, it is not always possible to fully perceive the entire sound image we are creating. This is why recording can serve as an objective reference.

Record yourself and consider the following questions:

• Is the “artistic intention” you wish to convey to the audience potentially perceptible?
• What discrepancies do you notice between what you planned and what you hear in the recording?

Make a second recording, correcting the issues you noticed.

Congratulations on completing remarkable work that will soon bear fruit.

Now take a short break, as after a period of learning, our brain needs time to “digest” the information. Take the opportunity to have a glass of water, stretch, or simply gaze out the window.

Then, move on to another fragment of your piece and return later to the one you just learned. This approach will help you better integrate the information and skills you have acquired.

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