Feb 242013
 
Recently I’ve been reminded how valuable slow practicing is. For most people this is extremely important, for a few, not so much so. I don’t mean any absolute speed but rather one in which we can play the notes and rhythms successfully. Easier pieces won’t need as slow a pace as harder ones. As one’s music reading gets better, the pace can and should increase. read the rest
Oct 022012
 
Performance The nervousness of performance is like distraction during practice, it doesn’t go away. However, some days are better than others. The trick is to accept the feelings of the day and ultimately use their energy to enhance the performance. Cold yet sweaty hands, tremulous fingers, tight chest, and angst in the pit of the stomach — they all characterize performance anxiety. read the rest
Mar 312012
 
The Baggage Fossils Bring to Their LessonsAdults bring a great deal of baggage with them to their lessons because of their history with music and education. They come insecure about their musical knowledge and afraid of the power they feel in music. Their memories of teachers are mixed. They are justifiably cautious about starting a relationship with a new one. Further, adults misunderstand the learning process as it relates to piano. read the rest
Feb 282012
 
The Work of MusicFor some adult students, the love of music creates a paralysis of learning that is remarkable and surprising. We always assume that the love of a subject is an important ingredient in learning; but too much can get in the way. For some, music is so precious and wonderful that their awe of it makes it hard to approach the nitty-gritty work necessary for mastery of the common physical tasks of music making. read the rest
Feb 282012
 
Finding the Kinesthetic Feeling of Rhythm

The Problem

Rhythmic pulse is spontaneous and visceral, straight from the mind of the body. Counting out loud feels forced and comes straight from the mind of words and concepts. A basic task for any student is to bring these two minds together to form the rhythmic unity which is the energy of music. Finding this unity is especially difficult for adult students. read the rest
Feb 282012
 
Adults Have Difficulty Converting Notation Into Musical FlowAs beginners, children and adult piano students bring different mental abilities to the task of understanding music notation. As a result, I expect different paths for each group. Adults understand the concepts of note and rhythm faster than children do. They should, for adults’ minds, unlike children’s, are conceptual in nature. On the other hand, it’s hard for adults to grasp that notation is ultimately about sound and physical action. read the rest
Feb 282012
 
This is the transcript of my presentation given at the Levine Summer 2005 Pedagogy Workshop at the new Strathmore Arts Center on August 25, 2005. This workshop was sponsored by the Levine School of Music in Washington, DC. A Buddhist legend tells of the Prince of the mythological kingdom of Shambhala coming to the Buddha saying: Our people revere your teachings, but we cannot all become monks for we must work, have children and do the other activities that make life possible. read the rest
Feb 282012
 
Overcoming the Power of Old Myths: Public and PrivateWhen people learn that I teach adults, I’m always taken aback when they say:  “It must be so much more satisfying teaching adults than children because you know adults are taking lessons because they want to. This is today’s first myth. There is a prevalent misconception that teaching adults is easy. It’s just not true. Yes, adults want their lessons (so do my young students, for that matter) but wanting something doesn’t automatically provide motivation. read the rest