Just Do It
Try it yourself
Each part begins with a short 2–6 minute video containing simple, precise steps to follow. The final section guides you directly into approximately twenty minutes of practice.
- 2–6 minute videos
- Clear steps to follow
- Guided practice at the piano
These masterclasses present selected “Just Do It” practice sequences from the complete cumulative programme. They allow you to experience several relationships directly, without the surrounding theory and detailed explanations through which they are fully developed.
Three Progressive Sequences
The masterclasses
- 01
What Do the Hands Respond To?
From unfamiliar notation to inner sound and pianistic motion
What must exist inwardly before the hand can respond musically?
Six parts move from imagined pitch, familiar instrumental timbre and sound movement towards wrist motion, polyphonic imagination and hands-together playing.
6 parts · Schäfer Nos. 6 and 36
Begin Masterclass I - 02
Giving Sound Texture and Dimension
What changes in movement and touch when imagined pitch acquires resonance, depth and dimension?
Four parts develop pure pitch within a liquid, resonant, three-dimensional Sound Texture and connect it with three-dimensional wrist motion and polyphonic playing.
4 parts · Schäfer No. 16
Begin Masterclass II - 03
Creating Music Between the Notes
From outward singing to inner singing and playing
Six parts develop Intonation as the inwardly sung distance between notes, then connect it progressively with hands-separate and hands-together playing.
6 parts · Intonation exercises and Schäfer No. 23
Begin Masterclass III
Masterclass I
What Do the Hands Respond To?
Goal
Give unfamiliar notation an inner sound—pitch, instrumental timbre and direction—and allow that musical experience to begin guiding wrist motion and hands-together playing.
Scores
C. Schäfer, Sight-Reading Exercise No. 6
Used in Parts 1–2 and 4–6.
C. Schäfer, Sight-Reading Exercise No. 36
Used in Part 3.
Objective
To allow each written note to become an internally heard pitch with a recognisable violin or cello timbre and a clear direction of movement.
Video
Part 1 — Timbre and Sound Movement: Note by Note Twenty-minute task
Follow the guided practice in the final section of the video, working hands separately with Schäfer No. 6.
Move through the music note by note, using imagination, singing, sound movement and the accompanying hand gesture.
Self-assessment
After the investigation, ask:
- Did the timbre in my imagination remain recognisable?
- Could I hear sound movement after singing the note?
What may begin to change
The notation begins to feel less like a succession of visual instructions. Each note starts to arrive as an anticipated sound carrying timbre and direction.
Objective
To transform separately imagined notes into one continuous auditory experience extending across an entire bar.
Video
Part 2 — Timbre and Sound Movement: Bar by Bar Twenty-minute task
Follow the guided practice in the final section of the video, working hands separately with Schäfer No. 6.
Move from note-by-note imagination towards hearing and singing the complete bar as one connected musical movement.
Self-assessment
After the investigation, ask:
- Did I experience one continuous line or several isolated pitches?
- Did the instrumental timbre remain stable across the bar?
- Did the glissando connect the notes inwardly?
- Did the gesture follow the sung direction?
What may begin to change
The bar begins to be experienced as one continuous movement rather than as several notes that must be assembled during playing.
Objective
To establish two-dimensional lateral wrist motion and then three-dimensional wrist motion, hands separately, while keeping the hand loose and preventing the elbow from taking over the wrist’s movement.
Video
Part 3 — Two- and Three-Dimensional Wrist Motion Twenty-minute task
Follow the guided practice in the final section of the video, working hands separately with Schäfer No. 36. Begin with two-dimensional lateral wrist motion, then continue with three-dimensional rolls and swings. At this stage, concentrate on the motions themselves. The fuller connection with imagined timbre and sound movement will be engaged in Part 4.
Self-assessment
After the investigation, ask:
- Did my hand stay relaxed while playing?
- Did my elbow begin moving instead of my wrist?
- Was my three-dimensional wrist motion deep enough?
- Did I play at one note per second, or did I begin to play faster?
- Did I touch each key at six o’clock during rolls and swings?
What may begin to change
Lateral wrist motion begins to feel less like a physical instruction and becomes a physical capacity that can later respond to imagined sound movement. Three-dimensional wrist motion begins to give the hand a feeling of breath and momentum.
Objective
To bring the timbre and sound movement already developed in Schäfer No. 6 into playing with three-dimensional wrist motion.
Video
Part 4 — Sound Movement and Three-Dimensional Wrist Motion Twenty-minute task
Follow the guided practice in the final section of the video, working hands separately with Schäfer No. 6.
Return to the previously imagined timbre and sound movement, then observe what happens when the music is played with three-dimensional wrist motion.
Self-assessment
After the investigation, ask:
- Could I retain the imagined timbre while playing?
- Did the sound movement remain continuous?
- Was the three-dimensional wrist motion complete?
- Did the hand remain loose throughout?
What may begin to change
Three-dimensional wrist motion begins to function within an already imagined musical line rather than as an isolated physical exercise.
Objective
To construct a hands-together inner representation in which the notes of both hands can be heard simultaneously without losing the independent sound movement of either voice.
Video
Part 5 — Constructing the Polyphonic Inner Sound Twenty-minute task
Follow the guided practice in the final section of the video with Schäfer No. 6.
Work first interval by interval and then bar by bar, gradually constructing a polyphonic inner representation through imagination, singing and sound movement.
Self-assessment
After the investigation, ask:
- Could I hear vividly both pitches of each interval inwardly?
- Could the two imagined pitches become simultaneous?
- Could I retain the independent direction (sound movement) of both voices?
What may begin to change
The two staves begin to form one inner musical space without losing the identity, direction or continuity of their individual voices.
Objective
To allow an internally constructed polyphonic representation to guide hands-together playing with three-dimensional wrist motion.
Video
Part 6 — From Polyphonic Inner Sound to Hands-Together Playing Twenty-minute task
Follow the guided practice in the final section of the video with Schäfer No. 6.
Construct the music inwardly interval by interval and bar by bar, then bring that polyphonic experience into hands-together playing with three-dimensional wrist motion.
Self-assessment
After the investigation, ask:
- Did both voices remain present inwardly?
- Did their independent directions survive when the hands played together?
- Did the three-dimensional wrist motion remain complete?
- Did the difficulty begin in hearing, movement or their connection?
What may begin to change
Hands-together playing begins to emerge from an internally constructed polyphonic sound rather than from the coordination of two separately moving hands.
Masterclass II
Giving Sound Texture and Dimension
Goal
Experience pitch within a liquid, resonant, three-dimensional Sound Texture, then connect that inner dimension with three-dimensional wrist motion and playing.
Score
C. Schäfer, Sight-Reading Exercise No. 16
Objective
To imagine each bar as pure pitch within a liquid, resonant, three-dimensional Sound Texture, combining horizontal sound movement with movement downwards in space.
Video
Part 1 — Sound Texture: Hands-Separate Imagination Twenty-minute task
Follow the guided practice in the final section of the video, working hands separately with Schäfer No. 16.
Move bar by bar through singing and imagination without playing.
Self-assessment
After the investigation, ask:
- Could I imagine the notes as pure pitch within a liquid, resonant Sound Texture?
- Did I experience sound movement both downwards and horizontally in space?
- Did the Sound Texture remain continuous throughout the bar?
What may begin to change
The notes begin to be experienced not only as pitches moving horizontally, but as sounds possessing resonance, depth and spatial direction.
Objective
To allow the three-dimensional Sound Texture imagined in Part 1 to guide playing with three-dimensional wrist motion.
Video
Part 2 — From Sound Texture to Hands-Separate Playing Twenty-minute task
Follow the guided practice in the final section of the video, working hands separately with Schäfer No. 16.
Imagine each bar before playing, then bring that inner experience into playing with three-dimensional wrist motion.
Self-assessment
After the investigation, ask:
- Could I imagine the complete bar before playing?
- Did the three-dimensional wrist motion correspond with the imagined sound movement?
- Did the hand remain loose throughout?
What may begin to change
Three-dimensional wrist motion begins to respond to an inner sound of corresponding depth and dimension rather than functioning as an independently learned movement. The feeling of any residual tension in the hands starts to dissolve completely, leaving a “boneless” sensation.
Objective
To construct both staves inwardly within one three-dimensional Sound Texture while preserving the individual sound movement of each voice.
Video
Part 3 — Constructing Polyphonic Sound Texture Twenty-minute task
Follow the guided practice in the final section of the video with Schäfer No. 16.
Work first interval by interval and then bar by bar, gradually allowing both staves to become simultaneous within the imagined Sound Texture.
Self-assessment
After the investigation, ask:
- Could I hear both pitches of each interval simultaneously within the Sound Texture?
- Did one imagined pitch disappear when the other entered?
- Could I retain the independent sound movement of both voices?
What may begin to change
The two staves begin to form one resonant, three-dimensional inner space without losing the sound movement or identity of their individual voices.
Objective
To allow the internally constructed polyphonic Sound Texture to guide hands-together playing with three-dimensional wrist motion.
Video
Part 4 — From Polyphonic Sound Texture to Hands-Together Playing Twenty-minute task
Follow the guided practice in the final section of the video with Schäfer No. 16.
Construct the music inwardly before playing, then bring the polyphonic Sound Texture into hands-together playing with three-dimensional wrist motion.
Self-assessment
After the investigation, ask:
- Did both voices remain present inwardly while playing?
- Did their independent sound movements survive when the hands played together?
- Did the three-dimensional wrist motion remain aligned with the imagined Sound Texture?
- Did the hands remain loose throughout?
- If the relationship became unclear, did the difficulty begin in imagination, movement or the connection between them?
What may begin to change
Hands-together playing begins to emerge from an internally constructed three-dimensional polyphonic texture rather than from the physical coordination of two separately moving hands.
Masterclass III
Creating Music Between the Notes
Goal
Develop Intonation by singing the distance between notes with sound movement, glissando and resistance, then allow that inner singing to guide playing.
Materials
Ascending and descending interval exercises
Used in Parts 1–4.
C. Schäfer, Sight-Reading Exercise No. 23
Used in Parts 5–6.
Objective
To experience Intonation clearly within one interval: singing the space between its two notes with sound movement, glissando and resistance while keeping the voice free.
Video
Part 1 — Intonation: Singing the Space Between Two Notes Twenty-minute investigation
Remain with one interval long enough to achieve the correct Intonation.
Allow resistance to appear only during the transition. Do not place resistance within either note, force the vibrato or remain on the notes for too long.
Self-assessment
- Could I experience the distance between the two notes rather than merely sing two separate pitches?
- Was the glissando continuous between the notes or did I simply try to sing chromatic pitches?
- Did resistance appear only during the transition?
- Did my voice remain free while resistance was present?
- Did I avoid forcing vibrato or producing a flat, compressed sensation?
What may begin to change
An interval begins to be experienced not as two isolated notes, but as one continuous musical action.
Objective
To retain sound movement, glissando and resistance across different interval sizes and directions, first through the outward voice and then through inner singing.
Video
Part 2 — Intonation: From Outward Singing to Inner Singing Twenty-minute investigation
Follow the ascending and descending exercises demonstrated in the video.
Sing each interval aloud first. Then repeat the same interval internally, preserving the experienced distance, direction, glissando and resistance.
Give particular attention to descending intervals, where maintaining glissando and resistance may initially feel less natural.
Self-assessment
- Could I preserve the distance of each interval when moving from outward singing to inner singing?
- Did ascending and descending intervals retain a clear sound direction?
- Could I maintain glissando and resistance in descending intervals without allowing the voice simply to fall?
- Could I distinguish inner singing from merely remembering the two pitches?
What may begin to change
Inner singing begins to acquire the continuity and physical direction first discovered through the outward voice.
Objective
To connect inner singing with the movement from one key to the next, allowing the finger to arrive at the second note when the inner voice reaches it.
Video
Part 3 — From Inner Singing to Hands-Separate Playing Twenty-minute investigation
Follow the hands-separate sequence demonstrated in the video:
- 1Play the interval with three-dimensional wrist motion.
- 2Sing the interval internally with Intonation.
- 3Play while internally singing the space between the notes.
Keep the hand loose, light, empty and weak. Direct attention towards the inner singing rather than attempting to manufacture muscular resistance in the palm.
Self-assessment
- Did my finger arrive at the second note when my inner voice reached it?
- Did the physical movement correspond with the direction of the inner singing?
- Did my hand remain loose while the sensation of resistance was present?
- Was I following Intonation, or trying to create its physical result directly in the hand?
What may begin to change
The movement between keys begins to follow an internally sung musical connection rather than being organised as a purely physical transfer between two fingers.
Objective
To retain the essential sensation of Intonation when both hands play together, without trying to reproduce the full intensity experienced in hands-separate work.
Video
Part 4 — Bringing Intonation into Hands-Together Playing Twenty-minute investigation
Follow the hands-together playing sequence in the video.
Play with three-dimensional wrist motion and Intonation while allowing the hands to remain loose and light.
When both hands are combined, accept a quieter sensation of glissando and resistance. Its reduced intensity does not mean that Intonation has disappeared.
Self-assessment
- Could I retain inner singing while both hands were playing?
- Did I avoid forcing the hands in an attempt to make Intonation more noticeable?
- Did both hands remain loose and light?
- Could I still sense the movement between notes when my attention was divided between two hands?
- Did Intonation guide the playing, rather than being added after the physical movement?
What may begin to change
Intonation begins to remain active beneath greater physical and musical complexity without needing to be exaggerated. The hands remain loose while only certain ligaments in the palm start to prepare the next note.
Objective
To apply Intonation to unfamiliar notation by progressing from outward singing to inner singing and then to hands-separate playing.
Video
Part 5 — Schäfer No. 23: From Singing to Hands-Separate Playing Twenty-minute investigation
Follow the guided final section of the video, working in four-bar sections.
For each section:
- 1Sing each bar aloud with sound movement, glissando and resistance.
- 2Pause to breathe after each bar.
- 3Sing all four bars internally with Intonation.
- 4Play the section hands separately with three-dimensional wrist motion and Intonation.
During inner singing, no hand movement is necessary. Let your attention remain with the internal sensation.
Self-assessment
- Could I sing each bar on one breath?
- Did the inner singing retain the direction and distance between notes?
- When playing, did each finger arrive as the inner voice reached the corresponding note?
- Did my hands remain loose, light, empty and weak?
What may begin to change
Unfamiliar notation begins to form an internally sung musical line before the hands attempt to realise it at the keyboard.
Objective
To preserve internally imagined Intonation while bringing both hands together in four-bar sections.
Video
Part 6 — Schäfer No. 23: From Inner Singing to Hands-Together Playing Twenty-minute investigation
Follow the guided final section of the video.
Before playing each four-bar section, reconstruct it inwardly through Intonation. Then play hands together at a very slow tempo, incorporating the written rhythm while leaving dynamics and articulations aside for now.
Allow the sensation of resistance and glissando to become subtler when both hands play together. Keep the hands loose and light throughout.
Self-assessment
- Did Intonation remain present when both hands entered?
- Could I retain the sung connection between notes while incorporating the written rhythm?
- Did the inner voice guide the moment of arrival on each note?
- Did I accept a subtler sensation of resistance without trying to intensify it?
- Did both hands remain loose and light?
What may begin to change
Hands-together playing begins to emerge from an internally connected musical line rather than from the coordination of separate notes and movements.
After the Investigation
What did you notice?
Perhaps something became immediately recognisable. Perhaps the inner experience remained uncertain, or the connection with movement disappeared during playing. Each response helps to reveal where the relationship is already present—and where it may need more time.
If these investigations raise a question you would like to pursue further, Volume I develops the relationships cumulatively from the beginning.