Practicing Independence on Keyboard

One of the biggest challenges of keyboard technique is independence between the hands. This is especially true if there is any improvisation involved, since this prevents us from memorizing a passage by rote.

Myths and Misinformation

There are some misconceptions about independence that can prevent us from succeeding in our goals; moving beyond them can allow us to get the ball rolling with two-handed playing.

Myth: You must “split your brain” into two parts to manage the separate parts.

Truth: This split-brain idea is illusory; if this were possible, we could play at two different tempos at the same time, or play completely unrelated material in each hand. While with practice we can make it seem like the two hands are separate, there is a strong (and necessary) connection that makes this kind of playing possible. Better to think of one big ten-fingered hand.

Myth: If you practice one hand long and well enough, you will be able to ignore it and focus on the other hand, leaving the first part on “automatic.”

Truth: While there is no doubt that thorough practice is absolutely necessary, it doesn’t address the interaction between the hands. No matter how well-practiced one hand is, adding the other can still interfere. This is because our brain needs examples of how the two hands interact, otherwise this new situation will confuse us.

Myth: In order to prepare to improvise with an independent accompaniment, we need to memorize all the possible combinations of the hands.

Truth: This myth is kind of the opposite of the above myth of “auto-pilot” accompaniments. While logic tells us that  we need to prepare all the possible interactions, the truth is that the magic of human learning will “fill in” the gaps in our knowledge if we  do an adequate amount of prep. When this point of “ignition” occurs will vary with several factors: Prior experience, talent, and mind-state. Nonetheless, at some point it will click.

Myth: Once we have developed this ability to play with two hands, we will be able to play almost any combination of left-right material.

Truth: While it is true we will get better at this, there will always be passages that will require new connections to be formed. Taking nothing for granted when we practice will allow us to accept this. If we “expect” ourselves to be able to do something, we may be surprised when it comes time to actually put that thing into practice.

Elements of Independence

There are at least four basic elements to independence on the keyboard, depending on how we analyze the problem. Isolating these can help us deal with these and build coordination.

1. Fingers: moving different fingers at the same time without becoming confused is the first of these. Almost all  keyboard playing requires this, since otherwise the two hands would do identical things in mirror-image contrary motion. almost any exercise that requires different finger motions in the two hand swill make this skill stronger.

 2. Pattern: Even when the fingers are moving independently, the pattern between the hands may be the same; as an example, a two-handed scale has finger independence, but not pattern independence. The two hands can still “help” each other find the next note. When the two hands are playing different figures that change direction or note-order, this requires pattern skill.

 3. Position: Even when the patterns are the same, the hand position shifts needed may be different. As an example, in the C major scale the thumbs cross under/over at different times in the left and right hands. This makes this scale more complex than scales where the thumbs move together.

4. Rhythm: The two hands play different rhythms. These become more complex if neither hand is playing a steady note value or if neither hand is playing downbeats or strong beats. (such as quarter notes) Playing two complex rhythms at the same time is more difficult.

Practicing

The biggest issue in attempting to play with two hands is the desire to take on too much; often this will lead to a “train wreck” and discouragement. Isolating the various elements can allow us to achieve a “win” and begin to make progress.

Try putting together exercises that focus on only one of the elements described above. Here are some examples:

1. Keep both hands in a single position, with the same rhythm, but change finger-orders.

2. Play two different rhythms with the two hands, but use only a single note in each hand.

3. Play two patterns with differing numbers of notes per cycle, but without changing hand position.

4. Create a complex pattern for one hand, while playing very simple things with the other, such as quarter-notes on a single pitch.

5. Combine the above approaches into exercises until you find a challenging, but achievable exercise.

It is important to make sure that these exercises are concrete, so they can be practiced until they are effortless. If they are vague or conceptual, it will be difficult to make them strong.

After playing these exercises, try “winging it” and see what happens; this will give you information about what needs more work.

Let me know how you are doing!