Alfred Adult All-in-One Course Level 2 and 3
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Hahaha I wish! That was just the photographer making us pose at the hotel where our wedding pictures were taken. In fact I completely forgot this picture even existed (it was close to two decades ago), and came across it again just the other day. Since our blues "teacher" graduated me to "lovely beginner", I decided it was time to change the little girl to a lovely (or so my husband seems to think) bride instead 
WieWaldi I was thinking, if there is a mental trick to retain the tempo.
For some people it works better to embody the beat by tapping the free foot or even just a toe. There's something with the physical movement that can make it easier to keep a steady pulse compared to just thinking about it.
About the apps. If your digital piano has bluetooth audio in, you can set it up to hear your phone's metronome in your piano's headphones or speakers. I much prefer the sound and interface of apps compared to my piano's built-in metronome.
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candela If your digital piano has bluetooth audio in
Unfortunately not. Not even Line-in. 
The successor model has BT audio, now. If I'd give any digital piano shopper a tip, it would be this.... Drum-computer, backing-track player, and a sophisticated metronome. All easy and without cables.
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I put my phone away when practicing piano. A standalone metronome is much less distracting. It is also quite a bit easier to use, whether changing tempo in small or large steps. This one by Seiko is what I have. Highly recommend it.
Speed comes from working at speed so that your brain can begin to process and recognize what's going on.
Race car drivers do not practice driving slowly so that they don't bump into each other. They train to drive fast with control of the car. They push themselves and expect a little rubbing while racing.
In the same vein, you will not get faster by playing slowly and carefully. You must push the speed limit of your fingers and expect to fumble. This is how the human brain works and you will begin to correct the fumbles automatically. Eventually you will stop fumbling and can control the speed at which you play.
Just like a race car driver controls the speed at which he drives..
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Well, it's interesting that you mentioned a race car driver though - because of all people, a racer can't afford to fumble at all. He fumbles, he dies. So although I agree with what you're saying (we need to push ourselves to go a little faster than our comfort zone), it's no use speeding it up to the point of fumbling. I think the trick is to stay just within the "no-fumble" zone until it becomes the "whoa I feel like a tortoise" zone and then crank up the speed a notch. Rinse, repeat 
By doing that my current piece is now at the 70bpm "fumble? what the heck is that?", 80bpm "here are my fumble zones" and 100bpm "are these weirdly flailing objects moving in the general direction of the correct keys really my fingers controlled by my brain?" But give it a week or two and I will probably be able to give a different report 
Would it be an idea to split these last few posts into your new thread?
Well, I'm happy to say I am moving on from A Classy Rag because I got a recording done today - practice pays off There were a few pieces I got up to about 60-80% okay-ish (I will polish those later), so that means I'm now ready to move on to the unfinished symphony (Schubert). I'm looking forward to that one - it's like the classical version of a boogie woogie or ragtime piece
Sophia, you are really zooming through book 3! I'm still moving through book 2 at snail speed, but I think this is quite common at this stage. I have been working on the Elgar piece for a few days, and have made a tentative start with Dark Eyes, but both pieces are stretching my skills as they include fiendishly tricky two part writing for the right hand. The Chopin piece is next, and I've briefly attempted RH notes, but I'm not ready to properly tackle it yet.
I really don't think I'll progress further than grade 2 or 3 - I don't think my old brain is up to the level of multi-tasking involved beyond that level. I foresee that complex pieces probably involve 2 part writing for BOTH hands - the thought is terrifying! I will play for pleasure at an intermediate[ish] level but not become a slave to piano.
"Don't let's ask for the moon, we have the stars." (Final line from Now,Voyager, 1942)
Nightowl I really don't think I'll progress further than grade 2 or 3
Well, you say that now, but remember when we were in book 1? I listened to some people perform pieces from the second book and I thought I'd NEVER be able to play that. And here we are today - playing them. Sure, not as well as the professionals, but then again they once were where we are now. I agree with not becoming a slave to piano but I do think that as long as we keep at it regularly, we have no choice but to become better at it
I think the real fun starts when we allow ourselves to get away from Alfred dictating what we play and start picking music that we LIKE to play. Every now and then Alfred has such a piece, but nowhere near often enough. Though this third book is a little more pleasant than the first two - and I'm allowing myself to gloss over over pieces that I don't care for a little more often now. As long as I'm able to keep up with what the book is trying to teach, I'm okay with it now.
We'll see, but I'm not picking things up quickly now, and I can't imagine wanting to spend 100 hours to master a grade 5 piece, which is what might be entailed at that level. The professionals make it look so easy, and so effortless, but some of them have been playing for DECADES! Not that I'm being defeatist, just keeping my expectations real.
"Don't let's ask for the moon, we have the stars." (Final line from Now,Voyager, 1942)
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Nightowl I'm not picking things up quickly now, and I can't imagine wanting to spend 100 hours to master a grade 5 piece
But that is actually not how it works You're not picking new pieces up more quickly, true. But you're picking up MORE DIFFICULT pieces just as quickly as you picked up the easy pieces in your earlier days. That is the beauty of following a method book - it eases us into playing more and more complicated stuff gradually enough that it doesn't feel like progress.
If you picked up a grade 5 piece today, it would take you 100 hours to master. But once we gradually reach grade 5, it will take you just 2 or 3 weeks, same as a piece such as HN took you two weeks. If you had tried HN a year ago, you'd still be picking it out today - that is why we need to learn pieces at our own skill level. Something all the method books are good at
Ok, that was me going into full lecture mode for once, lol. Back to regular 
mode so you'll know me again
Fair point Sophia. But I still doubt that I will progress beyond grade 3(ish) level - I'm too much of a plodder and I think my brain doesn't operate fast enough to go beyond that. I speak slower than average - it takes me a bit of time to formulate my words and thoughts. Hence my belief that I won't ever be able to play fast tempo, complex pieces, because my brain doesn't "do" speed! It works OK, just not quickly enough for that.
"Don't let's ask for the moon, we have the stars." (Final line from Now,Voyager, 1942)
Nightowl I really don't think I'll progress further than grade 2 or 3
I have had those thoughts as well, and I think I have spent years playing grade 3 pieces and etudes. But nowadays, most grade 3 pieces seem too easy to me! I don't know how it happened, but it did. 
*
... feeling like the pianist on the Titanic ...
As you progress you will find that some pieces will be a bit more difficult. These will be the ones which teach harder concepts. The ones which repeat those concepts so they become ingrained will be easier.
Not to start another round of "speed kills...," but if you want to get faster you must practice for speed and not accuracy. No auctioneer was born babbling their sales nonsense, they all needed to learn how and what to say and then say it faster. And, while not everyone can sling the lingo like an auctioneer can, that doesn't mean you have to live life in the slow lane chanting at a walking cadence either.
Practice triplets. Practice full measures of 8ths and 16ths. Practice your scale and arpeggio runs. Push for speed, your fingers will fumble at first, but you will get faster. Then pull back from full throttle and concentrate on not hitting wrong keys or being out of sequence. You will be faster. Then push for more speed again and repeat the cycle.
Now play something you know and which is extremely easy. Play it as fast as you can. Again. Again. Again!
Now play it at tempo. And be amazed at how difficult it will be to slow down.
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Player1 And while not everyone can sling the lingo like an auctioneer can, that doesn't mean you have to live life in the slow lane chanting at a walking cadence either.
Good point P1, maybe there is some middle ground to be found and if I don't try I'll never know. I've not yet encountered a piece which includes 16ths, but I've worked on the chromatic scale and there are a couple of pieces in book 2 which feature nice chromatic runs. Those things can be included as part of my practice routine.
I'm currently playing the BF Polka as a warm up piece each day, trying to pick up the speed a bit. When played by professionals those note runs sound quite impressive, and the piece is cheerful (helpful as we go into winter, when my mood dips).
"Don't let's ask for the moon, we have the stars." (Final line from Now,Voyager, 1942)
I have had those thoughts as well, and I think I have spent years playing grade 3 pieces and etudes. But nowadays, most grade 3 pieces seem too easy to me! I don't know how it happened, but it did.
Thanks Animisha, that's good to know. It seems that while progress is slow on the surface, somehow the brain gradually builds faster neural network connections. What grade is your current playing level?
"Don't let's ask for the moon, we have the stars." (Final line from Now,Voyager, 1942)
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While I agree with practicing at tempo well below one's own threshold does nothing little to help gaining speed, the real question is what is that threshold and where to play around that threshold.
In my limited experience, the speed thresholds is when I begin to make occasional mistakes. If I begin to make same mistake in repeated runs, or I feel I am losing control, then that's above the threshold - time to stop and reduce the tempo! Even at the threshold, where occasional mistake happens at random slip of mind/finger, I still find prioritizing accuracy (by a couple clicks down on my metronome) is much more effective. When practicing just below my threshold, accurately and in control, for a little while, I can usually raise the tempo back up a few clicks and achieve the new speed still accurately and in control. Rinse and repeat that, is what I find the most effective way to raise speed.
In addition, scales & arpeggios are different because there mistakes generally means wrong or missed note. When practicing pieces, occasion mistakes does not mean just wrong notes. Even after I can play through a piece at tempo, I have often had to slow down to get articulation, dynamics and pedaling right before adding speed back again.
Nightowl I've not yet encountered a piece which includes 16ths
Those will be introduced towards the end of the book. Luckily that is a piece that is SO slow, that it feels more like you are playing 8th notes One gorgeous piece that makes very effective use of 16ths is Musetta's Waltz - but that too sounds gorgeous whether played slow or slightly faster. Alfred just never lets us down!
Nightowl It seems that while progress is slow on the surface, somehow the brain gradually builds faster neural network connections. What grade is your current playing level?
Quite right! Still, fast pieces are a challenge to me. I currently play pieces that are RCM 4-5.
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... feeling like the pianist on the Titanic ...
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iternabe practicing at tempo well below one's own threshold does nothing to help gaining speed
I am also in the disagree camp, here. My current piece is a slow Blues and I practiced it very slowly. I got faster and faster from alone. I even did not want to speed up. Now it is too fast and I have to concentrate to keep my tempo slow during playing.
Edit: this 
is when practicing without metronome. With metronome you have indeed you increase the speed from time to time. But only when you can play it errorfree enough.
Animisha Thanks, that gives me hope that I might also reach that level of play. Currently I'm working on 3 pieces which all contain two part writing for the right hand, so they are all stretching my skills - especially the Chopin piece. I also dip into some pieces from the Alfred hits book 1, as a change from these tricky pieces. I'm making progress but book 2 is much more challenging than book 1 (which is understandable).
"Don't let's ask for the moon, we have the stars." (Final line from Now,Voyager, 1942)
Appropriate piece in my book for the time of the year... Spoooooky story!
Background story: I was playing around with my new keyboard and the sounds. I thought that one would match the theme of this tune. And I also wanted to test the Yamaha Rec'n'Share app.
It's not very well played... but I had to abandon it to keep the peace in the family While I was recording this, my husband came in and declared it was the most awful thing he ever heard. I told him it's called Spooky Story - to which he replied "Sound like it! More like a Nightmare. When are you done with it?" (I will spare you the rest of his complaints, they were all in the same vain anyway) So yeah, I didn't dare any more takes after that. Even the cats stayed away! ^_^
Yes, I know, a headset would be the solution... but the song wasn't worth that much effort anyway...
Anyway, here it is.... Spooky Story (page 48) - never to be touched again.
That's a step up from my husband... he preferred to be in the attic - and we don't even have one 
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Sophia Anyway, here it is.... Spooky Story (page 48) - never to be touched again.
Is that a promise? 
I'm with your husband on this one - something about that sound effect hurts my ears. Well played though.
"Don't let's ask for the moon, we have the stars." (Final line from Now,Voyager, 1942)
The sound reminded me on good ol "Ghost n Goblins" computer game. Ok, not the same sound and not the same tune, but the same mood. I liked it - well played! 
One tip for future practice: Get a good pair of headphones. Or an attic. Whatever is cheaper.
OMG, please tell me you're joking and there's no bagpipes option on your new toy! What sort of sadist invented such an instrument of torture?!? 
Funny you mentioned "Modern Sounds" - after listening to that piece and several other excuses for music from book 3 I've decided I'm probably not going to buy book 3. Playing awful pieces comes with the territory of being a beginner, but once I've finished book 2 I'll be done with Alfred's.
I recently bought a book called Very Easy Classics which has several of the nicer pieces from book 3, and apparently they are all arranged for people playing at levels 1 to 3, so I'm hoping they will be manageable. I will start that book once I've gone further into book 2. I'm about to start work on Polovetsian Dance, which is quite a pretty piece.
"Don't let's ask for the moon, we have the stars." (Final line from Now,Voyager, 1942)
Hehe, yeah I simply knew that would definitely not be your taste 
I hear you on book 3. I'm not sure if I would have bothered if I hadn't purchased all three in one set. But now that I have it, I'd say that about one third of the pieces are quite nice or just plain fun to play... the rest are between meh and dreadful. I'd argue that the additional theory makes it worth it though.
That said... the piece that I just started introduces arpeggios and I can already tell we're not going to be good friends. I understand the need to learn them, but they remind me of an opera singer in a warming up exercise... going up and down and up and down.
Which gives me more time to taunt/haunt you with spooky toons 
Sure! We'll leave it at that 
The kitties were conspicuous by their absence... good breeding shows. 
Cats have such sensitive ears, they could probably still hear the cacophony from a mile away - have pity on them Sophia!
"Don't let's ask for the moon, we have the stars." (Final line from Now,Voyager, 1942)
Can't argue any of that 
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Well, after skipping some more awful (to my ears!) pieces and still polishing that arpeggios piece, I just started Adagio in A Major (Morovsky). Nightowl, I think that piece is right up your alley, it's absolutely lovely: gentle and lyrical! It would be a sacrilege to play THAT on my keyboard in a spooky voice
It's also another stretch piece for me - quite literally as it turns out! At first I thought the book made mistakes in the fingering... those stretches couldn't possibly be played realistically. But after spending a few minutes with the first bars, it started to make sense. Now I'm quite enjoying this new challenge and probably found another piece to spend extra time with 
Well Sophia, you talk of it being a stretch piece, then say that after "spending a few minutes with the first bars" it starts to make sense. So... it's actually not that difficult for you, but remember the rest of us mere mortals might take an hour to achieve what you manage in a few minutes! So stop being so annoyingly blatant about your innate talent or I might have to throw a strop about how unfair it is! [Stamps feet and feels urge to throw something at Sophia.] If you weren't so annoyingly likeable this would be even more annoying than it already is!
Meanwhile I'm working on the Chopin Etude, but progress is painfully slow. I am just working on the first 8 bars, hands separate, and even that is pushing my mediocre ability. I have read comments online where people say they think this piece is more like grade 3/late intermediate level than grade 2, and I'm beginning to agree with them. Which is why I'll be content if I manage to play this section hands together this side of Christmas 2025.
"Don't let's ask for the moon, we have the stars." (Final line from Now,Voyager, 1942)
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Nightowl ...after "spending a few minutes with the first bars" it starts to make sense. So... it's actually not that difficult for you
Heh, no. I wish, lol. I mean it makes sense that it's physically possible to play C# and A with thumb and index finger - something I had never even considered until now. It felt really awkward at first, but it can be done! Same with some other finger settings.
I can play the first two bars now, at about this speed but not quite as smoothly: 
Edit: if it makes you feel any better, I still can't play that gorgeous Chopin piece smoothy either - there is something very, very difficult about it!
Spoiler alert: I actually planned on playing that Chopin piece for the first recital here on PT. There was no way I could learn it in that time, and settled on a later piece in the book that was actually a lot easier to play (Fascination). So you're making FASTER progress than me, you rascal!