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  • Piano Technique: Learning with mindfulness

    Piano Technique: Learning with mindfulness

    Table Of Contents
    Piano Technique Basics
    Piano Posture
    Fingering
    Hand Position
    How to stop making mistakes on the piano
    Slow and Fast Practicing
    Movements
    Bad Technique
    Common Practice Techniques
    Injury
    Recommended Piano Technique Resources

    Piano Technique Basics

    What is the definition of piano technique?

    “Piano technique” is a tricky concept to define. It could refer to:

    1. The actual, physical way you play the piano. For example: move your thumb under, play staccato with a finger motion rather than an arm motion, or move the wrists in circles, play legato by delaying releasing the key.
    2. The mental way of understanding how you play. For example: pull the sound out of the piano, use the weight of the arm, or play in a “singing” manner.

    To make matters more complicated, there can be overlap. Very often, what we think is an accurate physical description is more of a mental image. There is no “best piano technique.” Every pianist has his or her own technique.

    To me, technique is the study of:

    • How to play the piano.
    • How to make our bodies do what we intend at the piano.
    • How to form a bridge between the intellectual analysis of the music and the real, actual sound.

    This should be completely practical. There is nothing stuffy about it.

    Why play with good technique?

    If you don’t play with good technique, you may find that your playing is:

    • Unpredictable (not in a good way)
    • Painful or tiring
    • Difficult to listen to

    If you have these problems, it is worth improving your piano technique.

    Can anyone play the piano well?

    Anyone can learn to improve their piano technique, and this is a worthwhile goal. Depending on the quality and quantity of practice, amazing results are possible. However, it can be a life-long process. Additionally, there are obstacles to technical development. For example, distractions or anxiety can derail an otherwise skilled performer.

    And yes, anyone of average-sized hands (or even smaller) can play difficult music. It does not matter how long your fingers are, or if your right or left hand is the dominant one.

    How to improve your piano technique

    The best way to learn piano technique is to play as many different pieces as you can. You will learn something from each of them. As you do this, pay attention to what things feel like. Also, notice when things work, and when they don’t work. Your brain will automatically learn how to improve your piano technique.

    How to master piano technique

    To learn technique from the ground up, I recommend you check out my online course: Mindful Piano Basics.

    Piano Posture

    What is the proper posture at the piano?

    Sit at the bench. Feel how the bench supports your weight.

    You may need to play around with:

    • The height of the piano bench.
    • How far from the edge of the bench you are sitting.
    • The distance of the bench from the keyboard.
    • The height of the keyboard (not always easy to adjust!)
    • Leaning forward or backward.
    • Looking down at your hands, or straight ahead.
    • “Sitting up straight” more or less.
    • “Slouching” more or less.

    There is no correct posture. That is, you need to find what works for you. Specifically, the correct posture should make things easier, not harder. Pay attention to what feels easy and what feels hard. This is more important than what is right or what is wrong. So, don’t be afraid to experiment.

    Fingering


    How do I learn correct fingering?

    Piano fingering is a big topic. In general, certain fingerings make passages easier, and other fingerings make them harder. In contrast, the proper fingering is the one that makes playing easier, not harder.

    You don’t always need to plan out your fingering. Specifically, i’s better to learn to trust your instincts and to train those instincts to be trustworthy. Furthermore, planning out fingering tends to encourage an intellectual approach, rather than a spontaneous, in-the-moment approach. Let your brain learn by itself which fingers to use when playing the piano.

    How do I strengthen my fingers?

    Many students wonder how to strengthen their fingers for piano. This is understandable because when your fingers feel weak, it is hard to play. However, you don’t need to strengthen your fingers. Proper piano technique is about coordination, not strength. That is, the reason your fingers feel weak is that you are not properly balanced. Instead of trying to build strength in your fingers, you should pay closer attention to when they feel weak. Those are the moments when you need to develop awareness.

    Hand Position


    How do I position my hands on the piano?

    The proper hand position is the one that makes playing easier, not harder. This also applies to any other “position” (e.g., wrist position).

    Many teachers will suggest trying to create a certain arch in the hand, and may recommend holding a ball in the palms, or letting the hands fall to the sides and observing the shape, or deliberately curving the fingers. Sometimes these tricks work, but I try to avoid them.

    The position of your hands and wrists should be natural and intuitive. That doesn’t mean we are born knowing how to play the piano. It means that we should use our natural coordination as a starting point, and work from there. If it ain’t broke, don’t fix it. If the key goes down at the right time, makes the sound you are looking for, and doesn’t cause you pain, then you certainly have the correct hand position.

    Despite what you may have learned in a method book, the “five-finger position”, where each finger is rested simultaneously over its own key, is probably not a very natural position. Try this out for yourself.

    How to stop making mistakes on the piano


    How do we learn to make mistakes?

    Habits are learned. We learn to do things by receiving a reward when we do them, and by noticing the connection between what we did and the reward we received. Learning does not happen only through repetition. It is possible to learn something very well after only a single repetition. For example, you may have learned to keep your hand away from fire after only burning yourself once. You can also learn with no repetitions. For example, you may have learned to avoid pointing a loaded gun at your face, even if you have only ever seen a loaded gun on television. The image serves as a cue that immediately triggers the fear.

    What does this have to do with piano playing? Mistakes in piano playing are learned, as well. That is, you need to set up your practice such that the correct technique is rewarded, and incorrect technique is ignored. Fortunately, there are many obvious rewards available to you. Good technique…

    • …feels good, bad technique doesn’t.
    • …sounds good, bad technique doesn’t.
    • …is less stressful, more musical, and less distracting.

    Many teachers will try to reward you for good technique by praising you, by explaining to you why it’s good, or by criticizing you when it’s wrong. In my opinion, these strategies generally don’t work. The intrinsic rewards of good technique are more certain.

    What is the point of repetitive practice?

    Repetition is worth doing, however. Repetition can give you opportunities to test what you have learned. That is, it can show you what you still need to learn. It can show you how to learn, and how to play more accurately.

    Slow and Fast Practicing


    Should I practice slowly?

    Slow practice can be a great idea. When you are practicing slowly, you have more time to take in more details. Now, by slowly, I do mean really slowly. For example, if the piece of music you are learning has a performance tempo of 120, you might try practicing at 60. The piece will feel completely different at such a slow tempo. But, you will learn a lot about the piece, and about yourself, when you force yourself to look at things from different angles.

    Should I think before playing?

    The danger in slow practice is that you may encourage yourself to overthink. Piano playing should be easy. You should be confident while playing, and your movements should be simple and secure. However, practicing slowly, where you have the opportunity to anticipate mistakes before they happen, can lead to uncertainty. To be clear, this does not mean that you should not practice slowly. It means that when you practice slowly, you should do so in a way that is confident and secure.

    What is the problem with impatience?

    Slow practice can also lead to impatience. And, this impatience must be conquered. The reason for the impatience is that your mind is not interested in what you are currently doing, but instead in what is coming up next. When this happens, try to be interested in what is happening right now. For example,

    •  The feeling of your fingers on the keys
    • The sensations of moving your arms
    • The sound coming out of the piano
    • The sensations of impatience itself
    • The feeling of freedom in playing (if you don’t feel free when you play, work on that!)

    You must make this very moment extremely interesting, or you are simply not giving it the attention it deserves. As a result, your playing will be rushed, uncertain, and distracted.

    Or, perhaps you are bored when you practice. Again, you must find a way to play without getting bored. Find something interesting about this moment. You can do it.

    Should I practice fast?

    You should also practice fast. Do not be afraid to speed it up. Fast playing makes it harder to worry about mistakes, and makes it easier to focus on what is happening right now. You can speed it up a couple of clicks, or even more (twice as fast!).

    Unless, of course, fast playing stresses you out. If this happens, you should work on that. Play fast, and notice what the stress feels like. Notice how you can get rid of it if you are willing to make more mistakes. Fast playing has a lot to teach you about stress. If you are afraid of playing fast, you will always hit speed walls.

    Movements


    Should movements be deliberate or arbitrary?

    Your movements at the piano should be based on the music. Unless you are going really slowly, you probably cannot make “deliberate” movements. So, they may feel arbitrary. However, the movements need to serve the music, not be random. This is what practice is for. Practicing will help you find the movements that work, and it will help you see the movements that don’t work. Until this is obvious to you, don’t worry about it. A lot of great pianists make movements that seem extraneous, even though they get good results. It’s difficult to say that these movements are too much if they are working. Focus on what is and isn’t working, rather than what looks right or doesn’t look right. Movements do not necessarily need to be choreographed.

    Pianists sometimes love to argue about things like “thumb under vs. thumb over.” If the movement you do is working, there is no argument. If it’s not working, then it might be worth trying something else.

    Should I focus more on muscle memory or music?

    When you play, just play. The music is the result of the movements of your muscles. There is no difference between “muscle memory” and “music.” Music is movement, not intellectual thought.

    Practicing involves two different things:

    1. Analyzing the music to understand its structure.
    2. Training your mind and body to move in a way that works for your analysis.

    After practicing, playing correctly should feel like second nature. If it doesn’t, you either have an unworkable analysis, or you haven’t trained in proper piano technique, or you just need more time.

    Memorizing music is a complex process. However, it starts with trusting yourself.

    Bad Technique


    What are some examples of bad piano techniques?

    “Bad technique” is:

    • Whatever doesn’t work
    • Whatever causes injury

    It’s not easy to define, because different pianists might describe their technique in the same way, and yet get different results. There are many arguments over things like:

    • Should I curve my fingers?
    • Should I use arm weight?
    • Should I play more with the fingers or more with the arms?
    • Should I be relaxed?

    In reality, these are all simply words. There is no “right” or “wrong” without knowing exactly what is meant by them. Furthermore, even if a teacher instructs their students to “use arm weight” (for example), this does not mean that the teacher is effective in getting the students to do this.

    There is only one correct piano technique: the one that works. However, there are many ways to get there.

    How do I avoid developing bad practice habits?

    I want to make two points about this:

    1. The way to avoid establishing bad habits is by practicing good habits, and by learning to see how you get better results.
    2. You shouldn’t worry about developing bad habits.

    You don’t avoid bad habits by being warned against them. If you tend to perform a bad habit, you should realize that you are doing this for a reason. You will probably not change simply after hearing a warning. Instead, you need to notice how the bad habit is leading to bad results. Then, you will have an incentive to try something else. If you still find yourself doing the bad habit, you are probably still receiving a reward from it.

    I say you shouldn’t worry about developing bad habits. This is because, if you are a beginner, you will certainly be developing bad habits. You can’t avoid it, and you shouldn’t waste your energy trying. You don’t have enough awareness to know why they are bad. Instead, you should act like a curious child, exploring as much as possible. It doesn’t matter if it’s right or wrong. You will figure it out over time. Many teachers will say “but if you repeat a bad habit, you will never be free of it!” This is only true if you practice in a way that is not curious or exploratory.

    Common Practice Techniques


    Should I repeat a section over and over?

    You should repeat sections until you have exhausted all possibilities inherent in them. This is because every time you play a section, there is something new to learn. If your practice technique is structured so that you are exploring, rather than simply blindly drilling, it is good to repeat. However, always keep in mind that the point of repetition is to find variety. The point of repetition is not to “cement” something in your mind. These are not mindless repetitions.

    Should I practice in rhythms?

    Many teachers advocate practicing a technically difficult passage “in rhythms.” This involves changing the rhythms to lend variety.

    Practicing in rhythms is probably a more effective strategy than simply repeating something over and over without any plan whatsoever. However, I think there are more effective strategies for achieving the same thing in a difficult section.

    Should I practice with different articulations?

    Articulation in music is like inflection in speech. You don’t need to practice it. Rather, you need to understand what you are saying, and then trust your instincts to convey the message.

    You can certainly experiment with different articulations if you are looking to be inspired musically.

    From a technical perspective, I don’t see the point in changing articulation arbitrarily. I think that often this technique is intended to avoid unwanted accents. Music is composed of beats, and if you understand this, and practice this way, you will not have the problems that this technique is supposed to solve.

    Is Hanon worth it?

    I would suggest ignoring the instructions written by Hanon. I think his understanding of technique was misguided (at least in terms of how he verbalized it). Modern piano playing has moved on since the publication of this book. This doesn’t mean the exercises are bad. It depends on how you do them. If you find them interesting and useful, you should practice them. Otherwise, you can skip them. In my opinion, there are more interesting collections of piano finger technique exercises out there. You can also take any passage of music and make a graded sequence of exercises based on it.

    Injury


    What problems does bad technique cause?

    Piano playing can be dangerous! It is possible to develop tendinitis, carpal tunnel syndrome, and other disorders. However, it is possible to play without injury.

    For more information on piano injuries, see: http://pianomap.com/injuries/

    How do I avoid injury?

    You avoid injury by paying attention to how you feel while you play. However, this can be easier said than done. Many pianists are so distracted while they are playing, that they have no attention left over for their physical well-being. Nonetheless, you need to find a way of playing that can be done comfortably.

    This can be an extremely subtle problem, with far-reaching consequences. What’s more, pianists who are prone to playing-related injuries usually have a stressed physical and psychological approach to their daily lives, and it can be difficult to change this. However, I know some pianists who swear that after a short course of lessons with one particular teacher, they were cured. So, if you are injured, I hope you find that kind of assistance!

    Meditation, yoga, Alexander Technique, the Taubman approach, etc., can all be very useful in uncovering and correcting the causes of injury.

    Recommended Piano Technique Resources


    Here is a list of recommended resources for learning more about piano technique. Ultimately, I don’t believe it’s possible to learn piano playing from anything other than practicing the piano. All books and methods are incomplete. However, it is worth exposing yourself to different ideas. The ones I am listing here have been especially helpful or thought-provoking. I do not consider myself a practitioner, or even a disciple, of any of these methods.


    Piano Technique Books

    Piano Technique Demystified, by Neil Stannard. This is an honest, unconventional book that has a lot of ideas that seem to be influenced by the Taubman approach.

    What Every Pianist Needs to Know About the Body, by Thomas Mark. A good resource for understanding the anatomy involved in piano playing. This book is based on “body mapping,” and is based on ideas from the Alexander Technique.

    20 Lessons in Keyboard Choreography, by Seymour Bernstein. A step-by-step approach to learning piano playing in 20 exercises. This was written by one of my teachers, and it is the book that made me realize it’s possible to understand piano technique on a deep level.

    Piano Technique Videos

    Freeing the Caged Bird – Developing Well-Coordinated, Injury-Preventive Piano Technique by Barbara Lister-Sink. An approach that seems to be influenced by the Alexander Technique. Based on this short video, I like the way she thinks about piano playing.

    Piano Technique Websites

    The Taubman Approach is an interesting analytical approach to piano playing. Dorothy Taubman had a clear way of understanding things.

  • 13 Misunderstood Benefits of Playing Piano

    13 Misunderstood Benefits of Playing Piano

    In this article, I’m going to lay out 13 benefits of playing piano, along with a challenging reply to each. These are common reasons, and some of them may appeal to you. However, learning a musical instrument is hard, and if you find yourself practicing for the wrong reasons, you’re going to find it difficult to stay motivated.


    To look deeper into what benefits you can expect to get from piano study, try adopting the alternative mindsets I suggest below.

    1. I want to create beautiful music.

    Reply: Oh yeah? What happens when you don’t make beautiful music? You know you aren’t going to be very good at first, right? And even after studying for years, you will still sound quite bad at times. If you like listening to music, why not just pull up any number of world-class performances on YouTube?

    More sustainable alternative:

    I want to engage in the process of learning to make music. This process will take time and will involve playing music that sounds bad, and that’s actually the fun of it.

    Many piano students stress out over the fact that their playing sounds bad. Try instead to change your mindset about this. You’re a beginner. It will sound bad. 

    2. Piano is relaxing and my life is stressful.

    Reply: Sorry to tell you this, but playing a musical instrument can be stressful too. I wouldn’t exactly call it relaxing most of the time.

    More sustainable alternative:

    I am learning because I want to grow as a person. Stress is part of this process at times, and that’s not a problem.

    If you feel stressed out, remind yourself of why you’re doing this. Chances are, your focus has shifted away from your practicing, and you are fixated on a particular outcome (playing a difficult piece, doing well in a performance, etc.). And when you don’t achieve that outcome, it’s natural to become frustrated.


    This is normal. Try to view it as an opportunity to put your attention back on the here and now. 


    The stress is not a sign of a problem.

    3. I’m bored in my life and want more fun.

    Reply: Again, it’s not always fun. Some people even find it boring at times.

    More sustainable alternative:

    Activities become fun when I make the decision to care about them. This is an opportunity to learn something that will become ​mine​, and I will love it whether it’s fun or not.​​

    Piano might seem like a great amount of fun, until you try it. Then, it can turn into pure frustration!


    At that point, you have two choices: (1) quit and try to find your fun somewhere else, or (2) persist. 


    The choice is yours, but anything worth doing is going to be frustrating at times. The frustration is a sign that you care.

    4. I like to get good at things.

    Reply: Well, you’re probably not that great at it. And what are you going to do until you get good at it? Are you going to be constantly worrying about whether you are good yet? Of course you are.

    More sustainable alternative:

    I love having a beginner’s mindset, and being ​bad​ at things. This is what challenges me to stretch my mind in new directions.​​

    As the Zen teacher Shunryu Suzuki once said, “In the beginner’s mind there are many possibilities, but in the expert’s there are few.”


    Being a beginner is a rare opportunity to approach a subject with no preconceptions or biases. Try to make use of this. You don’t need to be really good at piano really quickly. Instead, try to enjoy the fact that you don’t really know what you’re doing. Take your time. Enjoy the scenery. If you practice this consistently, you may be surprised by how learning this skill is one of the main benefits of playing piano.

    5. I quit piano as a kid and want to make up for lost time.

    ​Reply: You took lessons 30 years ago and now you want to make up for it? I hate to break it to you, but you aren’t getting those 30 years back. They’re gone. If only you hadn’t quit, you’d be 30 years ahead now! Wow… This is supposed to be motivating for you?

    More sustainable alternative:

    That was then; this is now. No time like the present.

    You can’t change the past. If you’re upset because of lost time, try thinking about everything you ​have​ accomplished during that time. You are where you are now, for better or for worse, because of what has led you to this point.

    ​

    If you’re worried that you are too old to learn piano, you’re not alone. At the same time, this worry will only serve to get in the way of your practicing. Let yourself grieve for the lost time, and use that sadness to bring vitality into your practicing.

    6. I want to play with a choir/vocalist/rock band.

    ​Reply: ​​A worthy goal, but maybe you aren’t there yet. It could take a while, too. If you’re just starting out, it could take years, even. Keep it in the back of your mind, but you’re going to need something else.

    More sustainable alternative:

    I am really inspired when I watch skilled musicians play. Even though I can’t play like that, I can work to incorporate their ​qualities of playing​ into my own practice. 

    It’s so common to compare oneself to others. It’s also rarely useful. Piano is something that must be learned on your own.

    ​

    When you notice yourself comparing your playing to that of a professional’s, you may stress out over how much you’re falling short. Instead of judging yourself, try to notice how much you admire their playing, and why. Even if you’re a beginner, you can still learn a lot, and you should try to emulate what you can. For example, can you bring some of their energy, musical expressiveness, or willingness to risk making mistakes in public into your own playing?

    7. I like being pushed outside of my comfort zone.

    ​Reply: ​​No one likes being pushed outside of their comfort zone. That’s why they call it a “comfort zone.” Maybe you heard that it’s good to be pushed. But you don’t like it. That will motivate you for about 9 days…

    More sustainable alternative:

    I hate being pushed out of my comfort zone. But, I still practice, because that’s what pianists do. 

    Are you expecting that a “gung-ho attitude” to piano playing will keep you going forever? It doesn’t work in dieting or exercise, and it won’t work in music study.

    ​

    Instead of pushing yourself past your limits, try to accept the fact that you are a human being who is sometimes lazy. That’s normal, and perfectly fine. 


    Practice because you made a choice to practice, not because you ​need​ to improve. Sometimes it will feel comfortable, and sometimes it won’t.

    8. Improved hand-eye coordination.

    ​Reply: ​​Haha…I have been playing for years and I still sometimes feel like I have two left hands.

    More sustainable alternative:

    Practicing the piano will make me better at piano. I’m not expecting anything else.

    Piano practice might make you better at hand-eye coordination overall. But, don’t count on it. Instead, focus on the task at hand. What amount of hand-eye coordination is required to practice the piano in the way that you’re trying to practice?


    And when you do some other activity, focus on that activity.

    9. Increased confidence.

    ​Reply: ​​You’re joking, right? Walk up and down the halls of any music school and you will come across some of the most insecure people I have ever met in my life.

    More sustainable alternative:

    Sometimes I will feel confident, and sometimes I won’t. My goal is to develop self-acceptance, even when I don’t feel confident.

    Music requires you to bring your whole self to the table, including any personal insecurities. These insecurities can easily surface in a way that can make you feel decidedly not confident. 


    This is especially common at higher levels. Often, the better you get, the higher the level of competition, and the more reasons you have to evaluate yourself negatively.


    If you can conquer this, then yes, confidence may indeed be one of the many benefits of learning piano. But in the meantime, expect some ups and down. Try to go along for the ride.

    10. It will make me well-rounded.

    ​Reply: ​​So what, you are going to study an instrument for 2 months and then check it off your list, and move on to the next thing? Fine, but maybe you should save your money and time, and just check it off the list now. I won’t tell.

    More sustainable alternative:

    In the time I spend studying music, I will give it 100% of myself. Even if that’s only 2 months (or 2 hours). I know that anything less will not give me the results I’m looking for.

    I have nothing against trying out piano for a little while just to get a taste of it. If you do this, however, try to make a commitment to really experience it for that period of time. Study music for the benefits of playing music itself, not just for some idea of how it fits into the bigger picture of your life.


    For example, if you are an actor specializing in musical theater, you might decide to take piano lessons because it will give you a better understanding of music. That’s great. But when you sit down at the piano, you are a pianist, not an actor. Be a pianist, and do what your teacher tells you to do, even if you think “this isn’t important to me as an actor.”

    11. Others will be impressed.

    ​Reply: ​​Yes, some of them will be. But the better you get, the more you are going to try to impress people. If you get really good you will become a professional musician and surround yourself with people who take these skills completely for granted, and you will feel like it was all a waste.

    More sustainable alternative:

    When I play for others, it is only as a gift to them. I do not expect anything in return. They can be impressed or not, but this is not why I do it.

    Playing the piano can indeed be impressive. And, it can feel really good to get admiration from others. However, this can’t be your reason for doing it. Unless you are consistently spectacular, you will fail at this from time to time. 


    Furthermore, this attitude actually takes your attention ​away ​from the music. Music requires vulnerability and sensitivity. You must be focusing on what you’re trying to express. That can leave you open to rejection, which has to be OK with you.

    12. To develop self-discipline.

    ​Reply: ​​So you sign up for something you hate, just so you can learn how to force yourself to do things you hate? Sounds like a blast.

    More sustainable alternative:

    I know that if I feel like I’m having to force myself to practice, it means I’m going against my nature. Instead of developing self-discipline, I am working to develop self-compassion.

    Our culture teaches us this image of discipline as something you need to force yourself to do. This is counterproductive, because if you view it as a matter of willpower, you will fail once you run out of willpower.


    Instead, notice that your resistance to practicing is trying to tell you something important about yourself. When you approach practicing in a way that ​works for you, ​the resistance will melt away. This kind of “discipline” feels easy, because you are internally aligned with your own values.​​

    13. To become smarter/get higher test scores/awaken 100% of my brain and develop psychic powers

    ​Reply: ​​Great idea, start playing a musical instrument so that you can become good at something besides a musical instrument…

    More sustainable alternative:

    I am learning piano to make best use of the abilities I currently have. Music can challenge me in ways that very few other activities can, and this is part of the joy of being human.

    I hear this a lot from parents who want to give their kids an advantage in school, and from adults who want to stave off the mental effects of old age. These might indeed be real benefits of playing music, but they do not do music study justice.


    Piano playing is ​intrinsically ​rewarding. It doesn’t matter how old you are, or what kind of career you have or want. Studying the piano, like all art forms, is a celebration of what it means to be human. If you find yourself worrying that piano is not giving you the mental results you’re looking for, try to direct that worry into your practicing.

    Have I missed any other benefits of learning piano?

    Have you found any of these benefits of playing piano to be motivating? Do you find yourself motivated by something else entirely? I want to hear about it. Leave a comment below and let me know!

  • Teach Yourself Piano

    Your success in teaching yourself to play the piano will depend on 3 important factors:

    Motivation

    You need to be in this for the right reasons. Learning a musical instrument is not easy, and it will take time.

    The Right Exercises

    You must train yourself in the correct way. It is always better to be working on the right thing than to be working hard on the wrong thing.

    Sustained Effort

    If you put in the right kind of effort, over time you will succeed. Don’t make the mistake of quitting too early.

    Get my e-book

    I wrote this ebook because I want to share what I’ve learned about what’s wrong with the way the piano community treats “amateur” pianists. I don’t like it, and I want to change it.

    It is rare to see something written for serious adult amateurs, and by someone who went that route. I had it on as an audiobook while doing chores – the first chapter on various aspects regarding teachers, I was saying “right” and “certainly” out loud a few times. 😀 A lot of the things, I wished I’d heard this when I first started my first ever lessons some time ago; it took me years to at least partly find my way out of holes due to some of those things.

    Inge

    Amateur Pianist

    Get Your Copy of “Take Yourself Seriously”

    Frequently Asked Questions about Learning Piano

    Can anyone learn to play the piano?

    If you’re asking if you’re talented enough, the answer is “yes.” Provided you are physically capable of playing the piano, you will learn if you do the right things. Yes, of course, some people will learn faster than others.

    Am I too old to learn piano?

    Does it matter? You are whatever age you are, and you’re not getting any younger. If you enjoy playing the piano, then play. It doesn’t matter how much time you have “wasted”. That time is gone, and you will never get it back. What matters is the present moment, because this is the only moment you have to make decisions about how you want to spend your time.

    Is it hard to play the piano?

    This depends on what you are trying to achieve. Rather than think of things in terms of “hard” or “easy”, think instead in terms of specific results. You should understand that anything is possible, if you put in whatever work is necessary.

    Ask yourself the following questions:

    • What kind of music do I want to play?
    • How well do I want to play it?
    • How much time am I able to dedicate to piano practice?
    • How much frustration can I handle?
    • How long do I expect it will take to achieve my goals?

    How long will it take to learn the piano?

    It depends on many things. I know people who have spent years in piano lessons, and are still beginners. And, I know people who have been able to play at a professional level after only a few years. How long it takes will depend on (just to name a few factors):

    • What you mean by “learn the piano”
    • How much time you spend on piano practice
    • What specifically you do during that practice time
    • Any habits you have which might get in the way of good practicing
    • Any habits you have which might help good practicing

    How should I start learning the piano?

    Do what you’re interested in. Follow your curiosity.

    Also, check out my course.

    That doesn’t seem very specific. Can’t you offer something more concrete?

    If you’re looking for book recommendations or a step-by-step plan, that’s hard for me to give. I would have to know more about you, to know what you need.

    Also, you should understand that I am only going to teach what I know. That may or may not be what you need, and it is biased toward my own interests. This is true of all teachers, and you should keep that in mind when talking to teachers.

    How should I learn to read music?

    Learning to read music is like learning to read a language. It will take you a while to master it. If you expect that you are supposed to understand everything all at once, you will only get frustrated.

    The basic rules of music notation are simple. But, you will need to read many pieces of music before they really start to make sense. So, make that your priority. 

    What do I need to learn in order to be able to play the piano?

    It depends on what you want to do, exactly. Are you interested in:

    • Learning a few popular songs to impress your friends?
    • Filling in for the organist at church?
    • Giving a solo classical recital from memory?
    • Composing your own music?
    • Playing chamber music?
    • Exploring as much of the vast solo classical repertoire as you can?
    • Improvising jazz?
    • Applying to a degree program in piano?
    • Teaching piano?

    Each of these goals requires you to learn a large set of skills. It is worth getting very specific on what you want to accomplish. Then, you can work backwards from there, and figure out what you don’t know.

    Do I need a piano teacher?

    Many pianists attest to the fact that they could not have gotten where they are without a teacher. Likewise, many pianists are happy learning on their own. Consider the following questions:

    • What exactly are you expecting a piano teacher to help you with?
    • Do you enjoy teaching yourself new things?
    • Thinking about teachers you’ve had in other subjects, what did you like/dislike about them?
    • If you’ve taken piano lessons in the past, what has worked? What hasn’t worked?
    • If you’ve tried teaching yourself piano, what has worked? What hasn’t worked?

    There are many different ways of teaching piano. Different styles of teaching are better suited for some types of students than others. So, there are a lot of variables here.

  • Mindfulness for Musicians

    Work with me 1-1 (piano boot camp)

    As kids, we learn to judge ourselves. This is a normal part of growing up in our culture and going to school. But, it makes it hard to learn piano.

    The cure is mindfulness.

    Concentration

    Stay focused on the piano, not on what other people are thinking about you.

    Awareness

    Tune into your body so you can play fast and without mistakes.

    Non-judgment

    Let mistakes roll off your back so you can play without crashing and burning.

    Wait, what’s mindfulness?

    Mindfulness is popular these days. That’s good because it makes you play the piano better.

    Here’s how Jon Kabat-Zinn (meditation teacher) defines “mindfulness”:

    “Mindfulness means paying attention in a particular way: on purpose, in the present moment, and non-judgmentally.”


    If you’ve done meditation, this will be familiar to you. But, most musicians haven’t a clue.

    Why is mindfulness useful for piano?

    It’s all about learning to see how the mind and body work together. 

    Concentration. Anyone who’s ever tried playing an instrument knows how annoying distractions are. It doesn’t matter if those distractions come from the physical world or the mental world. They’re still distractions and you’re going to have a hard time playing as long as they’re throwing you off.

    Awareness. To play piano fast and without mistakes, you’ve got to be in touch with your body. The only way to get there is by paying attention. With awareness, you’ll be able to move your body efficiently and easily.

    Non-judgment. Piano is really hard and no one masters it overnight. So, if you’re stressing out about your mistakes, you’re being too hard on yourself. That’s normal, but it gets in the way. Fortunately, you can learn to stop judging yourself.

    Two myths about mindfulness

    “The purpose of mindfulness is to help you relax.”

    No, the purpose is to help you pay attention. It might even make it harder to relax. If there’s a lot of stressful stuff going on, paying attention to it could make you feel worse. That’s part of the game.

    “Mindfulness is supernatural woo-woo.”

    Yes, it’s true that religions and New Age hippies have used mindfulness forever. That’s because it works. It’s a basic human thing. But that doesn’t mean it’s supernatural.

    How to get started with mindfulness

    There is only so much that can be conveyed through writing. In other words, you need to experience mindfulness in order to truly understand it. So, here is an exercise I urge you to try.

    Exercise

    1. Choose two pieces: something fairly difficult that you struggle with, and something easy that you know well.
    2. Take a seat on the piano bench. Breathing through your nose, notice the feeling of the air entering and leaving with each breath. This is not an exercise in deep breathing; your task is only to notice the breath as it is.
    3. Play the difficult piece, keeping your attention on the breath. If your mind wanders, gently bring it back. Notice what causes your focus to leave the breath. Your task is to try to keep it there 100% of the time (you will definitely fail at this, but try anyway). If your attention wants to go to the music, bring it back to the breath.
    4. Now, play the easy piece, again focusing on the breath.

    Notice where your mind wants to go. No judgment.

    You don’t need to do anything else. Your experience is your teacher.

    This is really hard stuff.

    Just notice.

    What’s so different about a mindful approach to music?

    Many people benefit greatly from a traditional approach to music lessons. However, a mindful approach is based on something quite different. Let me give a few examples of how a mindful approach to piano lessons differs from the traditional approach. I urge all teachers and students to explore these issues in their own lessons, whether or not you wish to change your entire approach.

    Non-judgmental observation

    The core concept in mindfulness is paying attention. This is done entirely without judgment, if possible.

    OK, this is never possible. Our minds judge, whether we like it or not. Yet, we can still become aware of this judgment, and watch what it’s doing to us.

    If we immediately judge our observations, without taking this time, we will always be slaves to our reactions.

    Learning requires change.

    Attitude toward mistakes

    You don’t need to avoid mistakes. This is paradoxical, as of course the goal of piano lessons is usually to learn to play better. However, learning often happens best by making mistakes and observing the consequences.

    Ironically, many times our efforts to avoid mistakes actually prevent learning. We end up paying more attention to avoiding the mistake than to the consequences of our actions! Clearly, awareness of these habits is extremely valuable in making rapid progress.

    Mistakes, therefore, provide valuable data and should be actively sought out, not avoided.

    Lack of a strict curriculum

    Each student is on a different point in his or her path at any given moment. This changes day to day, and is difficult to predict. Additionally, it is often impossible to compare one student with the next in any meaningful way. Also, it’s hard to know in which order a student will learn specific skills. So, the teacher must be paying attention at all times to what is happening on this day, right now, and assign exercises accordingly.

    Relationship between teacher and student

    The relationship between the teacher and the student is crucial to the success of lessons. In traditional education, the teacher is an authority, on a totally different level than that the student. This makes sense, as the teacher knows more about the subject matter, and is hopefully able to better understand what’s going on with the student.

    Nevertheless, the teacher should approach the lesson with the same attitude her or she expects of the student: one of playful curiosity. As a teacher, I am learning to teach the student, in the same way that the student is learning to play a piece of music. This “symmetrical” relationship is vitally important, if both parties are to be truly in the present moment. The teacher must strive to understand why the student is behaving as he or she does, give the student room to be an individual, and accept that there are many things unknown to both.

    Skill vs. awareness

    The conventional attitude toward learning is that the goal is for the student to acquire skills. That seems like common sense, but my viewpoint is different. A mindful focus is always on building awareness, with the intention that the skills will follow automatically. For example, when learning to walk up and down stairs as children, no one teaches us exactly how to move our arms and legs. Rather, we grope around, noticing the effect different actions have on our movements, and eventually we figure it out. Is there any chance you will forget? Did it feel like effort?

    Language and rules

    In our culture, we tend to view language as expressing truth. For example, we learn rules such as “you should work hard” and “do unto others as you would have them do unto you.” As musicians, we learn “relax your arms as you play” or “put your first finger on the A key.”

    In fact, these rules may help playing. However, in a mindful approach, we evaluate rules based on whether or not they are useful, rather than true. Rules generally do serve a purpose, or they would have never been invented, and we would have never learned them. Nonetheless, we must always be paying attention to the present moment, which may differ considerably from whatever was going on when the rule was originally learned.

    Exercise

    What rules do you notice yourself following as a musician (or even in your daily life)? Where did you learn them? Can you think of a situation in which the rule is definitely helpful, and one in which it is definitely not helpful? Try to notice without judgment.

    Resources

    Books related to mindfulness for musicians

    The Perfect Wrong Note: Learning to Trust Your Musical Self by William Westney is a must-read.

    Barry Green’s The Inner Game of Music has some useful exercises. The book upon which it is based, Timothy Gallwey’s The Inner Game of Tennis, is definitely worth reading.

    Books on meditation

    For an introduction to meditation for beginners, I recommend Wherever You Go, There You Are: Mindfulness Meditation in Everyday Life, by Jon Kabat-Zinn.

    Interested in going much deeper into how the mind works? Check out The Mind Illuminated: A Complete Meditation Guide Integrating Buddhist Wisdom and Brain Science for Greater Mindfulness, by John Yates. Do not let the “Buddhist” in the title scare you; the author is a neuroscientist, and takes a very practical approach.

    Mobile apps

    Insight Timer is a very handy app for meditators. It tracks your progress, and also has access to numerous guided meditations and audio courses.

  • Wobbly Walking

    As an adult learning a new skill (e.g., piano playing), you might move your body in ways that are hesitant and uncertain. You may say “Well, this is to be expected. After all, I’m just learning. Eventually, when I know what I’m doing, I will become confident and the way I move will become secure.”
     
    There is no guarantee that this will ever happen.
     
    You may find that your movements become a little more effective, yes. But, the confidence that you are expecting may not appear.
     
    Piano students often equate the stop-and-start movements of adults to the wobbly walking of children. You may say “Of course my hands should be shaking, and of course there should be false stops and starts. After all, this is what children go through when they learn to walk.”
     
    Yet, that’s not what children go through when they learn to walk.
     
    It’s true that they trip and stumble and are anything but graceful. But, there is a huge difference between ungraceful movements that are the result of fear and ungraceful movements that are the result of trial and error.
     
    Most adults hesitate because of fear.
     
    Give trial and error a go. Notice the difference.

  • Why Should I Practice the Piano?

    Why should I practice the piano…

    …if I’m never going to be great?

    …if I’m never going to make money from playing?

    …if I have more important things to do?

    …if I don’t love performing?

    …if there are dozens of people on YouTube who play better than I do?

    …if I’m too old?

    Do you love practicing the piano? Do you feel guilty about spending so much time on yourself? Maybe you don’t think it is time well spent unless it fits into a preconceived idea of what “productive” means?

    This is not a conflict. You can love practicing and also feel guilty about it. You don’t have to resolve this issue.

    Don’t deny your concerns. It is better to acknowledge them, rather than trying to ignore them. The guilt is there for a reason.

    But, that doesn’t mean you have to do what it says.

    Instead, try exploring your creative impulses. You know, whatever you love about practicing. That is where you will find the seeds of enthusiasm. Nurture those, and see where they lead, without any expectations.

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