Approach
The piano, as we know it today, has been in existence for over 250 years.
With the instrument’s development many teaching methods got developed as well. There are hundreds of piano methods and educational books in existence today, each and every one offers their own specific, even “the best” approach. It seems that by now the absolute knowledge of how to teach the piano should exist. Theoretically this is correct but unfortunately not always in practice.
For the longest time, as a developing pianist, I was perplexed by how difficult it was to master a piece. Learning took forever and I couldn’t understand what made the piece eventually come together. The task of learning was a monumental physical struggle. I remember asking myself why some pieces came easier then others? What in my practice made difference in one piece and not in the another?
Answers to many of my questions came much later. I spent several years researching into technique in my early 20s when I was able to identify my weaknesses, and to pinpoint where my teachers overlooked crucial lessons. The following years I spent mastering the hardest piano repertoires and tirelessly looked for solutions for my challenges. As a result I completely transformed my technique. Only at that point of my career as a teacher and a performer I was able to properly assess the piano methods and put them in the overall context of long term piano education.
Since my teaching career began, I got to work with dozens of transfer students, and have heard hundreds of students sitting as a judge at music competitions. I noticed that many students lacked the basic knowledge of piano technique the same way I did as a young pianist.
Many educators, despite of their level of performing abilities, teaching experience and level of education overlook the basic fundamentals. The unfortunate result is that ambitious and talented student struggle with technique and in some cases even end up with hand injuries after prolonged use of it.
Naturally, every method contains valuable information, and some come close to being complete in the their methodology. It is true that no matter how great a method book is, it is incomplete in the hands of a undiscerning pedagogue.
Fundamentals...
In large by word technique I mean the knowledge of correct finger-hand-arm movement specifically applied to sound production, meter and phrasing.
Sound production
Each specific type of articulated sound (ex. staccato, legato, non-legato, tenuto) requires a specific movement from finger, wrist, arm before and after the sound is being produced.
Meter
When teaching meter, subdivisions and note groupings (beginning with basic note values such as quarter, half, dotted half and whole notes) it is crucial to incorporate choreographed “measured” hand and wrist movements while transitioning between notes.
Phrasing
Beginning with two-note and three-note phrases which are the building blocks of full multi-note phrase (ex. wrist and arm rotation, “weight” technique, “drop” and “knock”) specific types of techniques are used dependent on the articulation and the metric placement of a given phrase.
Piano technique is not a question of individuality. Learning to use correct technique requires a specific methodical approach and is accessible for anyone to learn and mastering it will enable students to play advanced repertoires with comfort and ease.
The piano, as we know it today, has been in existence for over 250 years.
With the instrument’s development many teaching methods got developed as well. There are hundreds of piano methods and educational books in existence today, each and every one offers their own specific, even “the best” approach. It seems that by now the absolute knowledge of how to teach the piano should exist. Theoretically this is correct but unfortunately not always in practice.
For the longest time, as a developing pianist, I was perplexed by how difficult it was to master a piece. Learning took forever and I couldn’t understand what made the piece eventually come together. The task of learning was a monumental physical struggle. I remember asking myself why some pieces came easier then others? What in my practice made difference in one piece and not in the another?
Answers to many of my questions came much later. I spent several years researching into technique in my early 20s when I was able to identify my weaknesses, and to pinpoint where my teachers overlooked crucial lessons. The following years I spent mastering the hardest piano repertoires and tirelessly looked for solutions for my challenges. As a result I completely transformed my technique. Only at that point of my career as a teacher and a performer I was able to properly assess the piano methods and put them in the overall context of long term piano education.
Since my teaching career began, I got to work with dozens of transfer students, and have heard hundreds of students sitting as a judge at music competitions. I noticed that many students lacked the basic knowledge of piano technique the same way I did as a young pianist.
Many educators, despite of their level of performing abilities, teaching experience and level of education overlook the basic fundamentals. The unfortunate result is that ambitious and talented student struggle with technique and in some cases even end up with hand injuries after prolonged use of it.
Naturally, every method contains valuable information, and some come close to being complete in the their methodology. It is true that no matter how great a method book is, it is incomplete in the hands of a undiscerning pedagogue.
Fundamentals...
In large by word technique I mean the knowledge of correct finger-hand-arm movement specifically applied to sound production, meter and phrasing.
Sound production
Each specific type of articulated sound (ex. staccato, legato, non-legato, tenuto) requires a specific movement from finger, wrist, arm before and after the sound is being produced.
Meter
When teaching meter, subdivisions and note groupings (beginning with basic note values such as quarter, half, dotted half and whole notes) it is crucial to incorporate choreographed “measured” hand and wrist movements while transitioning between notes.
Phrasing
Beginning with two-note and three-note phrases which are the building blocks of full multi-note phrase (ex. wrist and arm rotation, “weight” technique, “drop” and “knock”) specific types of techniques are used dependent on the articulation and the metric placement of a given phrase.
Piano technique is not a question of individuality. Learning to use correct technique requires a specific methodical approach and is accessible for anyone to learn and mastering it will enable students to play advanced repertoires with comfort and ease.