Practice Journals

Follow the process of learning, exploring, and mastering music. This category shares reflective practice journals by Tiger Han, insights into technical challenges, fingering strategies, sight-reading, and the gradual discovery of musical expression. Perfect for students, teachers, and classical music lovers curious about the step-by-step journey from first sight-reading to performance-ready music.

A pianist and a cellist are playing in a music studio

Practice Journal – When Chamber Music Reveals What Practice Can't

A rehearsal of Rachmaninoff's Cello Sonata revealed a wrong note I had never noticed in weeks of solo practice. Chamber music reminded me that careful listening is often the best way to discover hidden mistakes.

Jul 10

The Beauty of the Counterpoint

Learning Bach has taught me that musical independence is not about separation. In the Trio Sonata, BWV 529, and Toccata, BWV 911, distinct voices gradually become one flowing conversation, revealing how counterpoint creates unity through movement, dialogue, and purpose.

Jul 4

What is a Fugue? Understanding Bach's SATB Writing

What makes a fugue sound so complex? In this post, I explore the fundamentals of fugue writing, including the subject, counterpoint, and SATB texture, and how these elements combine to create some of Bach's most intricate and fascinating music.

Jun 13

What is a Toccata?

What exactly is a toccata? In this post, I explore the origins of the genre and discover that a toccata is less a fixed musical form and more a style of writing. Its blend of improvisatory freedom, dramatic contrasts, and underlying structure reveals why it has remained a captivating part of the keyboard repertoire for centuries.

Jun 8

An old piano exhibited at Australian Museum with lego.

Practice Journal - Toccata in C minor BWV 911 - J.S Bach

While learning Bach’s Toccata in C minor BWV 911, I focused on a challenging four-voice fugal section that required careful voice balancing and musical awareness. Through colour-coding individual lines, separate voice practice, and thoughtful fingering choices, I developed a clearer understanding of the fugue subject, countersubject, and Bach’s intricate contrapuntal writing.

Jun 6

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