Our Bodies and the Piano might be a Millennial companion to Our Bodies, Ourselves. It can take the subject of our physical relationship to the pianoforte out of closeted neglect. If we turn back the clock to our earliest lessons, perhaps few of us can recall specific directions or advice about how to sit at… Continue reading Piano posture, keyboard transit, floating arms and more
There's an amusing family story that Leonard Bernstein's oldest daughter shares with innumerable audiences during her book tours, and it tumbles out with perfect timing, like a fresh and spontaneous wave of a baton. (Why not? She was exposed to decades of baton plastique, a seamless legato flow of singing pulses that carried Mahler Symphonies… Continue reading Famous Father Girl author Jamie Bernstein delights a crowd of Lenny Lovers!
I posed the following question to six well-regarded pianists/teachers whose responses were varied and informative. "If after you have performed a concerto, or composition many times over, or if you are learning new repertoire, or are revisiting works in your recital repertoire, will you search for other performances on the concert stage, (or by CD)… Continue reading Should pianists consult performances of others to grow their learning process?
One of my students recommended a book by George Leonard that globalizes the idea of gaining Mastery in any field of endeavor through a love of "plateaus." (These are pauses in forward-moving progress that can either frustrate a learner, or motivate him to forge onward with an all-embracing love of the "journey.") The author begins… Continue reading Piano Study: Process not Mastery
The subject of reviewing pieces from a pianist's repertoire with the intent of considering new interpretations, whether subtle, or with bold strokes of tempo revision, mood, dynamics, etc. is part of a dynamic creative process. And with this particular focus on musical development and changes in perception, I probed Seymour Bernstein about his side-by-side you… Continue reading Revisiting pieces we have studied in the past
On first glance, most students will read down the page of Kinderszenen 1, Op. 15, enjoying a melodic flow, with only a passing interest in two additional voices. With this singular focus on the soprano line, the middle voice of relentless triplets can still inadvertently intrude upon the uppermost voice, as thumbs cross over from… Continue reading Voice parceling in Schumann’s Kinderszenen, “Of Foreign Lands and People”
I've come to realize after decades of teaching, that one size does not fit all--meaning, there's no full proof curriculum design that applies across the board to students who come to the studio with varying strengths and challenges. (I omit the characterization of "weak"--ness, even if it demands a time-honored pairing with its potent opposite)… Continue reading Piano Lessons: Meeting a student’s individual needs