Thirteen Mistakes Pianists Make

No one likes getting things wrong. It can be embarrassing, messy, expensive, damaging. But sometimes we fixate so much on avoiding micro mistakes we don’t notice how we might be missing the bigger picture.

Here are thirteen mistakes pianists make, and only a few of these are specifically related to playing the right notes.

MISTAKES OF ACCURACY

These fall into three categories.

1. The Mistake of Omission - something is supposed to be there and it’s missing.

2. The Mistake of Difference – something is supposed to be there, but we put something else in instead.

3. The Mistake of Addition - nothing was supposed to be there, but we put something in.

MISTAKES OF INTENTION AND ACCURACY

1. The Mistake of Misreading – we do what we think the score asks us to do but we misread the score.

2. The Mistake of Misunderstanding – we read the score correctly but we misunderstand what it means.

3. The Mistake of Misprints – we read the score correctly and perform it accurately but the score is wrong.

4. The Mistake of Not Listening – we perform accurately, but without being informed by the sounds we are making at the instrument in the space and making adjustments to our performance to suit our performing context.

MISTAKES OF INTENTION 

1. The Mistake of Misshaping - we perform the notes and rhythms accurately, but we fail to create contours and narrative arcs in our performance.

2. The Mistake of Emotional Misconnection - we perform accurately, but without an emotional intention, or with an emotional intention that the music cannot sustain.

3. The Mistake of Ignorant Miscontextualisation - we perform accurately with either a mistaken or non-existent concept of how the music connects to any other piece of music, musical tradition, artistic movement, technological development or historical event.

4. The Mistake of Not Exploring Possibility - we perform accurately but have failed to engage with what the music could be, thus limiting ourselves in performance to a narrow range of musical possibilities.

5. The Mistake of Fear – we perform with a terror that we will make a mistake, thus triggering a heightened risk of other mistakes of communication.

6. The Mistake of Complacency – we perform without being committed to connecting and communicating.

The biggest mistake, of course, is believing that playing the piano is about pressing the right keys at the right time; it’s not. It’s about

  • being in flow (in our bodies, in time),
  • being connected (to others, to history, to our emotions, to possibility),

And most importantly of all, it’s about

  • being human, even on those (possibly rare) occasions when we don’t make any mistakes.

What To Do When You Make A Mistake

Music isn't about being right. It's about being human.


Mistakes are a big fixation in the life of a piano teacher. Students come to piano lessons and play their pieces and sooner or later they play wrong notes, wrong rhythms, wrong articulations, wrong dynamic shapes, and so forth.

Once upon a not-so-long-time ago (let’s say 50 years ago) a particular breed of teacher would respond to a mistake with a physical action – a smack across the knuckles with a ruler, say – with the idea that this would focus the student’s mind on not making mistakes. (It’s more likely that this focussed the student’s mind on not being tortured, but, well, we’ll talk about that another time.)

Even though piano teachers don’t do that now, this idea of not making mistakes still looms large in the learning-to-play-the-piano scene. Students are taught to avoid them. When they do make a mistake the teacher puts a big circle around the note in the music, and a list of these mistakes is compiled for the student to go home and fix.

I’ve written before about the importance of not having lessons (or life) structured around correcting mistakes. But here I’d like to explore the idea from the point of view of the mistake-maker: what should we do when we make a mistake? Here’s where I always start:

1. Think about what makes this mistake a mistake. Did it sound bad? Did it fail to communicate what you wanted to express? Did it feel bad? Did your body get muddled? Did it prevent flow in your performance? (Or was it your worry about the mistake that prevented flow?!)

If you don’t know exactly what it is that you did that was The Mistake then you’ll struggle to not do it again! Just as true in life as it is as a musician.

Looking at it another way…

Most of the mistakes we worry about in piano lessons are mistakes of accuracy rather than mistakes of truth. In some ways it doesn’t matter which kind of mistake it is – we still need to locate the source of the error in order to prevent the mistake occurring again. But while an audience will ignore/forgive/fail to notice mistakes of accuracy, mistakes of truth will destroy a performance.

2. Explore the mistake. Can you repeat the mistake? (If you can repeat the mistake on purpose you are almost certainly not going to make that mistake again.) How does the mistake change the meaning of the music? (If you understand what meaning the mistake communicates you can choose to create a different meaning.) If you make this mistake at this point in the music, what else do you need to adjust to make the music make sense?

This kind of exploration can go on for a long time, and if exploration of this kind is new to you it can feel as if you are ‘mucking around’ or ‘not getting on with it’. Stick with this as long as you can – these explorations build a platform of deep understanding for your future performances. (Ignore that little voice that tells you you would be better off practicing scales. You would not.)

3. Ask yourself if your mistake really was a mistake. Maybe the ‘wrong’ thing you did was what you totally meant to do. When beginner students consistently play a tune with the wrong melodic contour I ask them to sing the tune – more than half the time they are playing the melodic contour to perfectly match the shape in their imagination, and they’re not making a mistake at all! They’re just not playing the same piece I’m looking at in the score. This is a question that is a “locating the source of the error” question, but it can also lead to some further introspection…

If you are committed to your changes to the original musical text you need to be aware of the implications in the cultural context of that work – are you performing in a context where variation, improvisation and recomposition are valued, or will this be seen as sloppiness? Are you committed to your ‘mistake’ because you aren’t all that interested in other people’s point of view?! Are you capable of giving a range of different performances of the same work? A commitment to a mistake can sometimes indicate a high level of rigidity in the thinking of the performer, and this will be more or less troubling/interesting/challenging-to-work-with depending on the age and developmental stage of the performer!

Often our ‘mistakes’ are a commitment to a muddle-headed conception of the work. This is when and where you need to trust your teachers and mentors – they’ve had loads more experience than you have.

So, now, what NOT to do….

1. Don’t stab and stab at different keys on the piano until you stab the right one. By the time you get the “right” note the whole piece will be wrong, you’ll have forgotten where you were and what your point was.

2. Don’t go back and start at the beginning. You can already play that part. Don’t waste your time. By the time you get to where the mistake was you’ll have forgotten what happened and you’ll make the same mistake again. Going back to the start means you are in a cul-de-sac of doom.

3. Don’t write in the names of all the notes. This doesn’t help. It distracts. And it makes you feel righteous when you’ve accomplished absolutely nothing at all. And you still don’t know why you made the mistake in the first place.

4. Don’t think you’ve sorted it out as soon as you’ve played the section correctly once. Tomorrow you’ll come back and make the same mistake, because all your practice has been practicing the mistake, and only 1.3 seconds of your practice was when you played it right.

Practice is fundamentally NOT about repetition and discipline – it’s fundamentally about listening and reflecting and noticing and exploring. Take your thinking away from an accuracy = perfection model. Music isn’t about being right, it’s about being human.

And remember, if you’re not making mistakes you’re not learning anything. Every single time you make a mistake you have the chance to become someone even more fabulous than you’ve ever been before – so celebrate your mistakes; they remind you you’re alive.

 

 

 

15 Things You Need to Know About Supporting Your Child Learning to Play the Piano

This list was first published in It Takes Two Generations at the end of 2013. 

If you’re a parent who has no background in playing a musical instrument it’s easy to be overwhelmed by the number of things the piano teacher accidentally takes for granted along the way. Don’t be overly worried about this – the teacher won’t have enough time in each lesson to fill in all the gaps and still keep your child engaged and enthused about their learning, but as time passes you’ll become expert at supporting your child’s musical education.

Here are the absolute basics that you need to know to be able to support your family’s journey into profound musicianship:

1. You simply cannot miss lessons. Unless you’ve just had a car accident, your child has a communicable disease, or your grandmother’s funeral couldn’t be scheduled any other day. Your child having extra homework that night or wanting a playdate with a best friend simply doesn’t cut it as a reason to consider skipping a lesson.

2. Practice has to happen every day. Even if it’s just for three minutes. The act of commencing practice every day precedes the act of engaging in prolonged practice every day! Get your child into the habit of playing her or his instrument daily and to a certain extent the practice will take care of itself.

3. Practice might not mean playing through a piece from beginning to end. In fact, practice rarely means playing through a piece from beginning to end. The teacher will give your child clear instructions each week as to what is required, and you need to respect these instructions – which means you need to know what they are. Teachers traditionally give written practice notes, but these days some teachers may even make a quick video demonstrating the correct practice approach. Use whatever the teacher gives you as a guide for what will take place that week at home.

4. You need to have books of music at home. The best indicator of a child’s capacity to develop literacy skills lies in whether the home has books, and the same holds true of musical literacy. If you try to insist that the teacher work from one book instead of three you are deliberating limiting your child’s capacity to learn. The price of music keeps changing in today’s internet-distributed book economies, but a rough guide is that you should be budgeting between $A125 and $A200 (that’s Australian dollars) for each child’s annual print music spend. Less than that and you know your child isn’t making particularly good progress! This amount will change from one country to the next, but I’d suggest $US80-150 would be about right for students in the US (music is just cheaper in the US, less to pay for postage/shipping), and about £55-90 in the United Kingdom.

5. Your beginner student child should be learning new music almost every week. If your child isn’t learning new music almost every week (there will be weeks when new music isn’t assigned, but these should only be from time to time, not every second week) it means something isn’t going right with your child’s learning (probably due to issues with practice at home). Talk to the teacher about how you can better support the practice for pieces assigned for a second, third or even fourth week.

6. Writing the names of all the notes in is a total waste of time and will drive the piano teacher completely nuts. Sometimes a piano teacher will write in the name of one or two notes, but writing in the names of all the notes is like asking your child to read a book one letter at a time: it’s boring and it doesn’t even make any sense. Being able to read music at the piano is about seeing the shapes and knowing what that will feel like to perform, and even having a clear sense of what it will sound like (the word for that is audiation – imagining sound). Don’t ‘help’ in ways the teacher hasn’t asked you to – and when you have a brainwave it will almost certainly be a good idea to discuss it with the teacher during the lesson before putting it into action!

7. The lesson time is when you should talk to the teacher, not afterwards. The teacher will either have other students, other appointments, or a really short dinner break at the end of your child’s lesson. It’s not OK to expect the teacher to discuss matters with you outside of the lesson time as a matter of course. Make the odd phone call, feel free to send an enquiring email or text message, but the time directly after your child’s lesson is sacrosanct (and not dedicated to you). It might be the teacher’s only chance to use the bathroom in five hours. :-) Of course, if the teacher wants to talk to you then by all means, chat away, but don’t assume that the teacher has this time available otherwise.

8. Just because you need to remind your child to practice does not mean that they don’t want to practice or that they don’t want to play their instrument. Just as you don’t give your children the option of failing to brush their teeth, bathe, eat or get dressed, so doing practice is not optional, even if that means you remind your child to do it every day for a decade. You are the parent: you make the rules. No one ever reached adulthood and said “I wish my mum had let me stop learning the piano”…

9. Think long-term. In other words, don’t plan to ‘try’ piano for six months to see if it’s a good fit – if you want your child to learn to play the piano you need to be internally committing to at least three years of lessons and practice. Then you can reflect on how things are going. This isn’t about being a tiger parent, it’s about being realistic about what’s involved in gaining musical skills. That 10,000 hour rule? You can have an awful lot of fun during that first 100 hours of piano practice, but you’re still only 1% of the way (if that) toward being amazing.

10. You may not realise how easy it is to play the piano, and at the same time how hard it is. There are very cool things students can easily learn to do at the piano which may give you the impression your child is a genius. Feel free to enjoy this sensation, but don’t be disappointed if the next week your child reverts to just being the cool, fabulous kid that you know and love. Some things that pianists do that appear easy are actually very hard, and some of the impressive things pianists do are ridiculously straight-forward to execute (if your teacher just shows you how).

11. If you want your child to learn to play the piano, then get a piano at home for your child to practice upon. Seems kind of obvious. Sometimes there are great reasons why you end up choosing to buy a digital piano, and these days there are just fantastic digital pianos available. But often parents choose woefully inadequate pretend pianos and think it will be as good: it won’t. If you can’t afford lessons AND a piano then postpone lessons for six months and use the savings to buy a decent instrument (digital or acoustic). Practicing on an inadequate instrument will set your child back by years in the long run – get this sorted as quickly as you possibly can.

12. Grab every chance you get to sit in on your child’s piano lessons. You will be a hundred times more likely to be able to support your child’s practice if you’ve been observing the teacher working with your child throughout the lesson – from how to use the body (shoulders, elbows, wrists, fingertips, proper seating position, etc.) to how to practice each piece to getting to understand the lingo (staccato, arpeggio, inversion, etc.). You have the chance to get your own free tutoring just by sitting in on your child’s lesson!

13. Participate in studio recitals every chance you get. You will be amazed how much your child is motivated by playing at and attending recitals – they get to hear music being performed by more advanced students, and they begin to build programs of pieces they are comfortable performing. And don’t project any nervousness you may feel onto your child – children don’t know they are supposed to feel nervous unless you tell them (or they have an anxiety disorder, which is a completely different matter), and you have an opportunity to develop confident public presentation in your child in this musical setting.

14. Don’t believe everything you read on the internet. This one makes me smile, of course, because one assumes you’re reading this on the internet, and believing it. :-) The truth is that your teacher is going to be able to give you much better advice for your child than you will find chatting to random people/teachers on an internet forum or by searching YouTube for tutorials. If you don’t have a background in playing a musical instrument you won’t know what to trust and what is nonsense. Find a reputable teacher who you trust and like, and get educated (along with your child) and develop your capacity for discernment.

15. Share what you know about your child with the teacher. Does your child have a morbid fear of spiders? An allergy to cats? A learning disability or a processing disorder? Don’t wait for the teacher to figure it out by themselves – by sharing what you know about your child you won’t be preventing the teacher from building a positive relationship with your child, you’ll be facilitating immediately great learning experiences. Thing is this: piano teachers are fairly canny – because playing the piano is so holistic a learning activity you might even find that the piano teacher is alerting you to quirks in your child’s learning behaviours that will help you finesse their school-based learning! Piano teachers are often the first to notice problems with vision, dyslexia, problems with proprioception, processing problems, pronounced learning styles (which may be the basis for trouble in the classroom), even synaesthesia, simply because they are spending 30, 45 or even 60 minutes one-on-one with your child, and maybe this is the first chance your child has had for that kind of regular, professional adult attention. You and the teacher are a team working to make your child the best person he or she can be. :-)

Follow these 15 guidelines and you’ll find that you are fast-tracking your family’s musical development! Enjoy the transformation!

These ARE The Good Old Days

This last weekend I attended the Kennedy Awards, a New South Wales-based peer-awarded recognition of excellence in journalism, in the role of handbag to my journalist husband (who also happened to be nominated for, and go on to win, an award). Many stories were shared over the course of the night – events that had transpired behind the headlines, hair-raising exploits of reporters whose recklessness was matched by their journalistic brilliance. At some point in the evening, my husband noted that, for all the journalists in the room, these were ‘the good old days’ that would be recounted 20 years, 30 years, 50 years hence. From the premier undone by a bottle of wine through to disgraced former policemen being arrested for murder; from pervasively corrupt infrastructure deals involving Sydney’s water supply and regional mining leases through to politicians being handed paper bags of $10,000 cash just prior to elections; these are the good old days these journalists will look back on.

This last weekend also saw the passing away of iconic Australian composer Peter Sculthorpe, a man whose music and mentorship has defined much of what it means to express oneself as an Australian composer. Anyone whose lives were touched by his has found themselves complicit in communal remembering of various good old days and decades with Peter: former students, editors, performers, pop musicians who enjoyed drinking/collaborating with him, friends. Peter Sculthorpe’s death has suddenly rendered a whole suite of musical and human experience as part of the fondly remembered past.

The present becomes history so rapidly.

In my first year at university I was studying composition and the general music subjects one studies in one’s first year. But on the side I was taking a course in 20th century literature. This was 1984, and I was just 16 years old. The first term’s lectures were devoted to poetry, and the lecturer started with Gerard Manley Hopkins and took us the way through to boot-legged recordings of the then still (comparatively) nascent hip hop and rap that had been developing in New York. “This is your time,” the lecturer told us, “this is the time of your contemporaries. The art that will be talked about in 50 years time is the art being made around you right now. One day you will realise that you were here. Pay attention.”

I couldn’t believe how exciting it felt. I felt so privileged to be experiencing the living of history when I was still so young! Things that had already happened, that were already over, notated, documented, recorded – they weren’t the limit of what counted. Yesterday – this morning – this afternoon – mattered, too. It was all important. Suddenly, as I walked down the hill to catch the bus, the very atmosphere was heavy with all the creating that was possible, all the contemporaneousness that was.

In shaping learning experiences for my piano students I am always aware that as much as the past informs the present, so the present will soon be that past that informs future presents… How am I teaching my students about the past they are a part of? How am I helping them connect with contemporary experience as future memory? As future history?

I was gloriously fortunate in my teachers, both at university and at high school – teachers who understood that they were building the past even as they were building the future. I don’t just honour them by maintaining that tradition in my own teaching – I honour my students, present and yet to come, who are only just beginning to realise that these are their good old days.

It Takes Two Generations…

This year I have had a handful of gorgeous beginners taking lessons with me. I’m trialling new material for beginners and I need a cohort of children of different ages, genders, interests and learning styles so I can really test a range of approaches I believe will be more effective than the approaches I’ve used in the past. I haven’t auditioned these new students prior to accepting them into my studio –  inviting a diverse group of children to explore the piano and learn musicianship and performance skills with me gives me my best chance of testing my material (as well as keeping me on my toes!).

Of all the diversities amongst these beginners the greatest is probably this: some children come from families of professional musicians while some come from families where no one has ever learned an instrument.

What does this mean? On the surface it means that I can write “start on F sharp” in a notebook of one student while in the notebook of another I need to draw a keyboard map with an arrow on the starting note. Or, a little bit deeper down, it means that I can assume at-home practice support for some students, while with others I need to assume that the student is the most expert musician in the home (no small difference between the two students!).

On a practical level it means I can get through much less in a 30 minute lesson with a child whose parents don’t know how to help at home than I can with a child whose parents can fluently read notation and who themselves engage in daily practice. It takes a lot of extra time to make sure a six year old will understand a task than it does to give an off-hand instruction in passing to a parent.

Just the other day I was talking with the father of the one of the families who have had no previous experience learning musical instruments. He was telling me about how much better their young child was doing since we had established firm routines both for attending lessons and for practicing at home, and how much more enjoyment the child was getting from the experience now that daily sessions at the piano were taking place. The father said a friend of his had told him “It takes two generations to make a musician – the first generation learns how to learn, and then the second generation has parents who know what it takes to really become a musician.”

The father said he was excited to know he was laying the foundations for the next generation to have the chance to really master an instrument.

Musicians are accustomed to long-term planning, but I was completely awe-struck to think that this family was investing in the grand-children yet to be born –  a couple of decades away from even being thought of, and still some twenty-five or more years away from taking lessons themselves.

As much as I would have liked to have disagreed with his friend, I couldn’t. It definitely takes more time to develop musicianship for the whole family than it does just for the youngest member. It’s not about loving music or knowing a lot about Beethoven or Count Basie. It’s about everything from how to engage in problem-solving, dealing with delayed gratification and the impossibility of perfection, through to knowing the names of the keys of the piano, understanding how the sound is made, how notation represents sound, that the experience of making music through the piano is far more than simply pressing the right keys at the right time, and specific knowledges such as “what is a cadence?” and “how do I use a metronome?”.

If you’re a parent who has no background in playing a musical instrument I’m sure it’s easy to be overwhelmed by the number of things the piano teacher accidentally takes for granted along the way. Don’t be overly worried about this – the teacher won’t have enough time in each lesson to fill in all the gaps and still keep your child engaged and enthused about their learning, but in time you’ll become an expert, I promise!

Here are the absolute basics that you need to know to be able to support your family’s journey into profound musicianship:

1. You simply cannot miss lessons. Unless you’ve just had a car accident, your child has a communicable disease, or your grandmother’s funeral couldn’t be scheduled any other day. Your child having extra homework that night or wanting a playdate with a best friend simply doesn’t cut it as a reason to consider skipping a lesson.

2. Practice has to happen every day. Even if it’s just for three minutes. The act of commencing practice every day precedes the act of engaging in prolonged practice every day! Get your child into the habit of playing her or his instrument daily and to a certain extent the practice will take care of itself.

3. Practice might not mean playing through a piece from beginning to end. In fact, practice rarely means playing through a piece from beginning to end. The teacher will give your child clear instructions each week as to what is required, and you need to respect these instructions – which means you need to know what they are. Teachers traditionally give written practice notes, but these days some teachers may even make a quick video demonstrating the correct practice approach. Use whatever the teacher gives you as a guide for what will take place that week at home.

4. You need to have books of music at home. The best indicator of a child’s capacity to develop literacy skills lies in whether the home has books, and the same holds true of musical literacy. If you try to insist that the teacher work from one book instead of three you are deliberating limiting your child’s capacity to learn. The price of music keeps changing in today’s internet-distributed book economies, but a rough guide is that you should be budgeting between $A125 and $A200 (that’s Australian dollars) for each child’s annual print music spend. Less than that and you know your child isn’t making particularly good progress! This amount will change from one country to the next, but I’d suggest $US80-150 would be about right for students in the US (music is just cheaper in the US, less to pay for postage/shipping), and about £55-90 in the United Kingdom.

5. Your beginner student child should be learning new music almost every week. If your child isn’t learning new music almost every week (there will be weeks when new music isn’t assigned, but these should only be from time to time, not every second week) it means something isn’t going right with your child’s learning (probably due to issues with practice at home). Talk to the teacher about how you can better support the practice for pieces assigned for a second, third or even fourth week.

6. Writing the names of all the notes in is a total waste of time and will drive the piano teacher completely nuts. Sometimes a piano teacher will write in the name of one or two notes, but writing in the names of all the notes is like asking your child to read a book one letter at a time: it’s boring and it doesn’t even make any sense. Being able to read music at the piano is about seeing the shapes and knowing what that will feel like to perform, and even having a clear sense of what it will sound like (the word for that is audiation – imagining sound). Don’t ‘help’ in ways the teacher hasn’t asked you to – and when you have a brainwave it will almost certainly be a good idea to discuss it with the teacher during the lesson before putting it into action!

7. The lesson time is when you should talk to the teacher, not afterwards. The teacher will either have other students, other appointments, or a really short dinner break at the end of your child’s lesson. It’s not OK to expect the teacher to discuss matters with you outside of the lesson time as a matter of course. Make the odd phone call, feel free to send an enquiring email or text message, but the time directly after your child’s lesson is sacrosanct (and not dedicated to you). It might be the teacher’s only chance to use the bathroom in five hours. :-) Of course, if the teacher wants to talk to you then by all means, chat away, but don’t assume that the teacher has this time available otherwise.

8. Just because you need to remind your child to practice does not mean that they don’t want to practice or that they don’t want to play their instrument. Just as you don’t give your children the option of failing to brush their teeth, bathe, eat or get dressed, so doing practice is not optional, even if that means you remind your child to do it every day for a decade. You are the parent: you make the rules. No one ever reached adulthood and said “I wish my mum had let me stop learning the piano”…

9. Think long-term. In other words, don’t plan to ‘try’ piano for six months to see if it’s a good fit – if you want your child to learn to play the piano you need to be internally committing to at least three years of lessons and practice. Then you can reflect on how things are going. This isn’t about being a tiger parent, it’s about being realistic about what’s involved in gaining musical skills. That 10,000 hour rule? You can have an awful lot of fun during that first 100 hours of piano practice, but you’re still only 1% of the way (if that) toward being amazing.

10. You may not realise how easy it is to play the piano, and at the same time how hard it is. There are very cool things students can easily learn to do at the piano which may give you the impression your child is a genius. Feel free to enjoy this sensation, but don’t be disappointed if the next week your child reverts to just being the cool, fabulous kid that you know and love. Some things that pianists do that appear easy are actually very hard, and some of the impressive things pianists do are ridiculously straight-forward to execute (if your teacher just shows you how).

11. If you want your child to learn to play the piano, then get a piano at home for your child to practice upon. Seems kind of obvious. Sometimes there are great reasons why you end up choosing to buy a digital piano, and these days there are just fantastic digital pianos available. But often parents choose woefully inadequate pretend pianos and think it will be as good: it won’t. If you can’t afford lessons AND a piano then postpone lessons for six months and use the savings to buy a decent instrument (digital or acoustic). Practicing on an inadequate instrument will set your child back by years in the long run – get this sorted as quickly as you possibly can.

12. Grab every chance you get to sit in on your child’s piano lessons. You will be a hundred times more likely to be able to support your child’s practice if you’ve been observing the teacher working with your child throughout the lesson – from how to use the body (shoulders, elbows, wrists, fingertips, proper seating position, etc.) to how to practice each piece to getting to understand the lingo (staccato, arpeggio, inversion, etc.). You have the chance to get your own free tutoring just by sitting in on your child’s lesson!

13. Participate in studio recitals every chance you get. You will be amazed how much your child is motivated by playing at and attending recitals – they get to hear music being performed by more advanced students, and they begin to build programs of pieces they are comfortable performing. And don’t project any nervousness you may feel onto your child – children don’t know they are supposed to feel nervous unless you tell them (or they have an anxiety disorder, which is a completely different matter), and you have an opportunity to develop confident public presentation in your child in this musical setting.

14. Don’t believe everything you read on the internet. This one makes me smile, of course, because one assumes you’re reading this on the internet, and believing it. :-) The truth is that your teacher is going to be able to give you much better advice for your child than you will find chatting to random people/teachers on an internet forum or by searching YouTube for tutorials. If you don’t have a background in playing a musical instrument you won’t know what to trust and what is nonsense. Find a reputable teacher who you trust and like, and get educated (along with your child) and develop your capacity for discernment.

15. Share what you know about your child with the teacher. Does your child have a morbid fear of spiders? An allergy to cats? A learning disability or a processing disorder? Don’t wait for the teacher to figure it out by themselves – by sharing what you know about your child you won’t be preventing the teacher from building a positive relationship with your child, you’ll be facilitating immediately great learning experiences. Thing is this: piano teachers are fairly canny – because playing the piano is so holistic a learning activity you might even find that the piano teacher is alerting you to quirks in your child’s learning behaviours that will help you finesse their school-based learning! Piano teachers are often the first to notice problems with vision, dyslexia, problems with proprioception, processing problems, pronounced learning styles (which may be the basis for trouble in the classroom), even synaesthesia, simply because they are spending 30, 45 or even 60 minutes one-on-one with your child, and maybe this is the first chance your child has had for that kind of regular, professional adult attention. You and the teacher are a team working to make your child the best person he or she can be. :-)

Follow these 15 guidelines and you’ll find that you are fast-tracking your family’s musical development! Enjoy the transformation!

Pedagogy Saturday and Permission: A Sober MTNA Conference Post

When one chooses (somewhat chaotically) from 5 possible tracks at a conference, criss-crossing from one theme to another specialty, as the spirit moves, throughout the day, it can be difficult to sense a theme or make an assessment as the zeitgeist.

Today I attended sessions from the Artistry, the Disability and the Jazz/Pop tracks, and to my surprise there really was a distinct theme running through the whole of my day: permission.

From Forrest Kinney giving teachers and students permission to improvise without ‘knowledge’ through to Peter Mack giving teachers (and by extension, students) permission to be musical in the way they perform/interpret notation, to Barbara Kreader giving teachers permission to broaden their curriculum beyond classical repertoire and Scott Price giving teachers permission to alter their teaching methods to meet the needs of children with autism – everyone was doing it: giving us permission.

What I liked about this was the sense of being in the middle of a tsunami of professional change: all the presenters were saying “you don’t have to do things the way you’ve always done them”, in so many disparate ways: Deborah Rambo Sinn discussing fingering for small hands, for example, and Kristin Yost demonstrating ideas for recitals with a rhythm section.

But, on the negative side of the ledger, I figure that all this permission-giving reflects a series of lacks in our profession:

  • a lack of confidence in ourselves,
  • a lack of competence at things we intuit are important,
  • a lack of understanding of current educational thinking,
  • a lack of general knowledge about the world, and
  • a lack of critical thinking skills.

Of course, that’s what people come to conferences to address: the lacks they feel they have in their professional praxis. But the presentations were each, in their own way, more about saying “It’s OK to do this” than about anything else: the nuts and bolts were very frequently less important that the over-arching idea that teachers should feel free to do things in ways that make musical sense.

I’ll repeat that: teachers should feel free to do things in ways that make musical sense. And I can’t for the life of me understand why music teachers need to be given permission to do that.

How did music education reach this point – where musical sense has such a low priority that we run conferences to assure ourselves that is, after all, important?

Sober thoughts, indeed, at the end of my 2013 Pedagogy Saturday!

MTNA 2013: About to Begin

It’s Music Teacher Conference time here in Los Angeles.

I’m all checked in to the Disney Hotel here in Anaheim and have just finalised my choices for tomorrow’s marathon Pedagogy Saturday sessions.

There are five tracks this year: Advanced Piano/Teaching Artistry, Collegiate/Young Professional, Jazz/Popular, Recreational Music Making, and Teaching Those With Special Needs, and those attending Pedagogy Saturday can mix and match to their heart’s content.

Which is just as well, because I’ll be attending moments from each of the tracks (with the possible exception of the Collegiate/Young Professional track, for the obvious reason that I’m not a college student; neither, it pains and entertains me to say, am I a young professional).

From surviving and thriving with small hands through to assessing whether/how performers can serve both audiences and composers; from teaching children with autism through to teaching children with dyslexia; from exploring creativity as a teachable skill through to  meeting the needs of a YouTube generation; from incorporating popular music into recital programs through to the challenges of teaching on a cruise ship – there will be plenty to keep me going tomorrow.

I’m fascinated that the MTNA is now offering a certification to teachers as specialists in “Recreational Music Making” – this is a very different kind of piano teaching to the one most piano teachers will have experienced, and I’ll be interested to see how teachers respond to these new initiatives (which are backed by big players in the business end of the business).

The Jazz/Popular track is jam-packed with goodies, and I wonder how much this track will compete with the Recreational Music Making track in attracting crowds to the presentations, and how much it will overlap with the same issues RMM covers.

A full day exploring special needs (and how music teachers can better address them) in the context of individual lessons is tremendously exciting to see. I’ll be interested to see how much of this is about building a framework for understanding as compared to putting forward cutting edge approaches to individualised music/instrumental education for high needs students.

I’m still too much of a stranger to US music education culture not to get a naughty twinkle in my eye at the phrase ‘teaching artistry’ (such a puffy kind of notion, this ‘artistry’ – how about ‘stage-craft’ and ‘musicianship’ and ‘stylistic awareness’ and ‘individuality’?!), but, whatever the name of the track, this is the mainstream end of the day, the nuts and bolts of performance, looked at from one angle or another.

Part of the challenge organising my tomorrow has been that the tracks are all operating on completely individualised timetables: one presentation might finish at 10.20 while another begins at 10.15 – that kind of thing. I will be doing some discreet slipping in and sneaking out throughout the day, wanting to wring every last bit of participation I can from my day.

I won’t be live-blogging! I’ll be too busy trying to get to the Safari Room from the Castle Room and back to the Magic Kingdom Ballroom for that, I fear. But if I get to the end of my Saturday with enough energy left over to write up some thoughts you’ll see them published here, about 24 hours from now. Even if it’s just to say I spent far too much time in the Adventure Room…