A New Song

by Sarah H.
from Virtuous Daughters, August 2007~Volume 7, Number 5

“I will sing a new song unto Thee, O God: upon a psaltery and an instrument of ten strings will I sing praises unto Thee” (Psalm 144:9). The Psalmist David knew that music is a powerful venue to praise the Almighty God, and evidence abounds in Scripture that he himself was an accomplished musician—in fact, he was so capable that he was chosen to play before King Saul (1 Samuel 16:18–19). It is challenging, however, to follow the example of David in playing skillfully as he did. In my own life, the task of proficiently making God-glorifying music has been a serious pursuit for some years now. Although I play and teach recorder as well, the piano has been my main instrument and I would like to share a little bit of information about choosing, mastering, and interpreting a new piano piece that God has mercifully blessed me with through the sacrificial instruction of others.
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In deciding on a piece to learn, I have found that it is important to choose a piece that is honoring and glorifying to God in its content and form, for that is after all the whole purpose and aim of music (1 Corinthians 10:31). Much sacred and classical music seems to meet this essential requirement. Also bear in mind that the piece you want to learn should be difficult enough to challenge you, but not so hard that you cannot master it. And to further your abilities, make sure your repertoire pieces vary in style, key, and mood. 


Although this is not a perfect example, I hope the following illustration is useful. One year I learned a feisty Mendelssohn piano concerto from the early Romantic period in the key of G minor, a flowing Haydn sonata from the Classical period in the key of E-flat major, a meditative Bach Prelude and Fugue from the Baroque period in the key of B major, a wistful Brahms Intermezzo from the late Romantic period in the key of A major, and some hymns and hymn arrangements in various moods and keys. Also try to find a piano piece that uses a new technical or interpretive technique that you have not learned before. For example, have you ever played a piece that contained pianissimo or rolled chords? If you have not and would like to learn techniques such as these, seek out a piece that would give you practice in them.
Once you have found the “perfect piece,” then you are ready to begin learning it. I prefer to memorize a piece although memorization is harder for me, for it results in easier and superior interpretation later on in the process compared to playing from the score. Memorizing seems generally easier if it is done at the same time as the mastering of the notes and technical problems. Whether or not you intend to play your piece from the score, it is a good idea to “dissect” your piece by taking it apart into two– or three-measure sections and learning and/or memorizing the left and right hands separately. It is so tempting to play a piece from beginning to end over and over until you are familiar with it (believe me, I have done my fair share of this!) but unless the piece is very short and simple you will not truly master it; and even brief, easy pieces greatly benefit from careful study. In your section-by-section learning of the piece, identify the technical problems that pester you, isolate them, and then practice those small troublesome spots so your mind and fingers can conquer them. Make certain that your arms are relaxed and your wrists free from stiffness; I find it nearly impossible to really overcome technical difficulties without relaxation. When you have learned your piece with the hands separate, then you are ready for the next step.


Again practicing in two– or three-measure segments, master the piece with your right and left hands together. In putting your hands together, make sure that they play exactly together or your efforts will result in a muddy, unpleasant sound. If you pay careful attention to this the general character of your playing will be more clear and distinct, and your chords will snap. In addition, if you are memorizing, you will now need to memorize the piece with both of your hands playing at the same time. Memorizing each hand independently and then putting the hands together strengthens the memory and makes blackouts much less common.


Now for my very favorite part! You are finally ready to work on interpreting your piece. The first source in the interpretation of classical music is the intentions of the composer. Identify all the dynamics markings on the score and try to follow them precisely. Another source of inspiration for interpreting classical music is to listen to a recording of your piece by a reputable pianist or attend a recital or concert where it is played (of course, be careful to whom you listen and where you go—Proverbs 13:20). Listening to others also gives guidance in the finer points of interpretation not often covered in score markings, such as pedaling or shading. In sacred music, such as hymns, finding exactly how to interpret the piece can be a little more difficult, especially if the score is not marked like much classical music is. Again, listening to a recording or another good pianist’s rendition can be helpful. Do not forget that your own ears can be a great asset to you. Although they are very important at all times, they are even more so at this juncture. Your listening abilities can help you analyze the interpretation of others, as well as identify the good and recognize the bad in your own.


After mastering your new piece, I pray that you can now follow more closely the example of David in playing your instrument skillfully for the glory of God. Let us thank the Lord for allowing us to praise Him through the beautiful medium of music.
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