Last Updated on 2022-11-30 | Originally Posted on 2021-09-18
Ear training isn’t something that I do enough with my students. It’s really difficult trying to fit so much into a half-hour lesson, which is the length of time that most of my students choose. I use the phrase train your ears, because I’m going way beyond the discipline of listening for intervals. It also involves listening to styles of music. You need to use different types of articulation. Hearing with precision is an important part of playing with precision. Let’s get the dissonance out of the way first!
Last Updated on 2022-11-28 | Originally Posted on 2020-06-23
My professor of keyboard harmony at The Juilliard School, Baruch Arnon, suggested that Edvard Grieg was a first-rate composer for the piano. Mr. Arnon was an all-business type of instructor, so when he gave off-topic recommendations it was worth noting. Grieg is one of those composers that a pianist typically knows, but doesn’t know well. As a child, I had played Elfin Dance for a National Piano Guild of Piano Teachers exam. As a young adult, I heard the Holberg Suite played in the string orchestra arrangement played by the Orpheus Chamber Orchestra at Carnegie Hall. I knew that some day I had to play that on the piano. The story of Grieg Galore follows.
Last Updated on 2022-11-14 | Originally Posted on 2019-06-28
When I start typing on my keyboard, I often wonder whether there is an audience for what I’m about to say. Even though I only write when I feel passionate about a topic, I don’t know if anyone will read my blog post or Web page. If someone reads it, will it be helpful or even better, influential? In one case, the answer is a resounding yes! One piano parent listened!
I wasn’t looking to buy a piano. Really! But I bought a piano anyway. The interest was sparked by a piano parent who was searching for an acoustic piano. But I was surprised when she emailed me an advertisement for a 48-inch Yamaha U1 upright, built in 1977. This is a top-of-the-line upright, which Yamaha continues to make in Japan, along with their tallest model, the 52-inch U3. They offshored production of all of their shorter uprights decades ago.
When it was clear that my piano parent was pursuing pianos in a much lower price range, I made the call. It’s tough to fairly evaluate resale prices for used instruments, but I knew that the asking price was correct if the instrument was in excellent condition. However, even well-loved instruments can develop issues requiring significant rework, so I didn’t want to take any chances.
I hired my preferred tuner to do an analysis of the instrument, since a $60 fee was well worth saving hundreds or even more if I chose poorly. I have to be realistic that this might be the last instrument that I purchase. Yes, I’d still love to have a Steinway B or Mason & Hamlin BB, but this is a practical decision for now.
Everything worked out, and I was able to find a new owner for my Knabe spinet that is old enough to have ivory key covers. It was a gift to me, so it is now a gift to a new piano parent. I never loved this piano, but that’s more a reflection on me than it; I have better instruments available to practice where I work. It still has more to give, and I hope it will be appreciated for years to come.
Adopt a new-to-you upright of your choice. You won’t be disappointed!
I got the chance to do quite a bit of reading during time off from work, especially following Christmas Eve, which included two services and a very difficult organ recital in between those broadcast via Facebook Live. Without looking for it, I stumbled upon an opinion piece in the New York Times titled I’ll Never Be Rachmaninoff. It was written by an adult piano student who returned to the piano following a long absence. Her goal was clear; but what is your goal?
It’s not the first time I’ve written a post based on the recreational benefits of piano study, but I think it always comes across better in the first person. Jennifer Weiner tells the story of finding teachers, and how study positively affected her life and daughter as well. Ms. Weiner was a very competitive person in youth and in life, so the last thing she needed was to resume piano study with the hopes of becoming great. Her goal was to be good, not great, and she describes her journey towards just that. Thus, the title of her article is particularly compelling.
I try to remember to ask my students about their goals and to regularly check in with them that lessons are meeting them. Often, especially with younger students, the goal is pretty general, just to play better, and the means to get there isn’t specific. For other students, particularly teens and adults, there are more specific goals in mind. It might be to reach higher levels in classical study, to play pop songs, or to play Christmas carols for their family.
One of my adult students had that last goal. She just reported back that it went well. For this particular student, the focus was short-term, to play a series of Christmas carols well enough for a sing-along. She enjoyed it enough and received enough positive feedback that she’s considering more study, though not right away. That’s great!
Whatever your goal is in piano study, I hope to help guide you there. Whether your goal is to be good or great, I think Sergei would approve!
I’m often asked by piano parents for recommendations on buying a piano. It’s a loaded question. I often have to ask several follow-up questions before giving an answer that will satisfy what they are really asking. In ideal terms, I’m thinking about the instrument that would best serve the student now and several years into the future. In practical terms, the parent is often looking for a bargain and something that will work now. It’s sometimes even difficult to get a parent to consider an acoustic instrument, even when money isn’t the primary constraint. How can I possibly make more of a dent, to get someone to try to think differently? Listen to the piano.
Since I perform quite a bit, I play a variety of instruments. Most of them are acoustic instruments, but there are occasions when they are electronic. There are those grin and bear moments, like when I played for a birthday party earlier this year with a borrowed 61-key electronic keyboard, damper pedal not included. Not all electronic experiences are like that. I often get to play some really good keyboards, such as a Yamaha Clavinova. Although there are other companies that make legitimate keyboards, I really like this model just because I’m most familiar with it.
However, I can’t say that I’ve ever played a keyboard without feeling compromised. I’m not talking from a purist or snobbish viewpoint. Listen to the piano. How does it sound? To me, there’s only way to produce the sound that a piano should have, and that’s with a hammer hitting a string. Sound sampling has greatly improved during my lifetime to where electronic instruments merit their place. They just aren’t real!
I was scrolling through Instagram posts one morning, and came across a pianist whom I know only through social media. She often posts students playing her old American-made grand piano that has a sound that could only come from that instrument. Between the moving parts of hammers and strings and the fixed ones like the iron and wood, each piano has a story to tell. Listen to the piano. I’m still amazed that my tiny Knabe spinet, so old that it has ivory key covers, speaks so beautifully. All spinets have the compromise of a drop action, but they can still sing and inspire.
Listen to the piano. That’s how I’m going to start when next asked this question. Perhaps my advice will go unheeded. But maybe that will cause some piano parents to pause to listen. And who knows? That might make all the difference!
Update: My former Knabe spinet is now in the home of a new piano student, as a result of the purchase of a Yamaha U1 48-inch upright.