While most traditional piano lessons include a tedious focus on CONTROL with premeditated, prescribed planning in a layered learning sequence, a hyper-methodical approach that aims for note-perfection, will often impede a liberated, whole arm gesture that can emancipate boxed-in, tight-squeezed playing. (Once activation of uninhibited physical energy is harnessed, then centering is easier to achieve while preserving projection and accuracy.)
To this effect, the very idea of LETTING GO and NOT CARING, framed simply as a self-directed, “I don’t care,” is enough of an auto-suggestion to prod a student to loosen up and throw fate to the wind.
One of my most influential teachers, Ena Bronstein, demonstrated the unthinkable when I briefly studied with her in Central California.
Here’s what she recommended in order to unshackle my playing of its inordinate constraints that naturally trickled down in an advice-giving format to one of my students. (Incidentally, Maestra Bronstein was a protege of Claudio Arrau and his assistant, Rafael De Silva)
In summary, stretching pedagogical boundaries to allow for the funneling of spontaneous epiphanies into the learning environment, (though sometimes defying convention), can positively increase freedom of motion and musical expression. And what might seem to be in opposition to sound teaching, is frequently quite the opposite.
Shaking out Bach Ornaments and the Influence of Claudio Arrau