piano, piano blog

Piano Pedagogy article by Byron Janis in the Wall Street Journal

http://www.wsj.com/articles/the-power-of-pedagogy-1472507353

This latest piece on how to teach piano (creatively) is gathering attention far and wide, most notably as an eye-catching feature in the Wall Street Journal. And if I’m not mistaken, an article on the joys of returning to the piano as an adult accorded a similar flood of adulation and empathy in this same media universe.

The Janis contribution, packed with pedagogy-related shoulds and shouldn’ts, includes a tribute to Vladimir Horowitz as the ideal mentor. His imparted words of wisdom about how a pianist must evolve on his own terms, without copying, or God Forbid asking his teacher how to turn or shape a phrase can be framed on the wall as the ULTIMATE arrival of the individualized, ripened artist, of whom Mr. Janis might have exemplified. But by the time Janis had arrived at the door of Volodya, the pianist/virtuoso would have been well schooled in the ART of PIANO Technique integrated with the how-to of producing a singing tone. (Supple wrists, relaxed arms, bigger energies feeding the hands and fingers)

In addition he would have had continuous, deep exposure to the Theory of music with its invaluable application to phrasing as it’s wedded to harmonic rhythm: how Deceptive and other cadences/resolutions help shape a musical line; or what it means emotionally to transit from the MAJOR tonality to parallel minor. (Add in voicing, balance etc.) Compositional studies, without doubt, further enriched Byron’s musical passage. (Why not ask students to COMPOSE along their creative travels. Janis sadly omitted in his text.)

Basically, one does not play piano in a bubble of ignorance. And for this edification, a teacher is needed who TEACHES and does not necessarily send the student home with the vague prompt that something is NOT right, so go figure out what it is, and come back with the CORRECT PHRASING.

What fledgling does not hunger for direction in this vast universe of learning so he can begin to play expressively. Piano playing does NOT necessarily come NATURALLY. We are not born pianists. We come into the world with developmental hurdles to overcome in specific, graduated stages. We cannot be propped up on a piano bench and instinctively produce a beautiful set of tones.

Unfortunately, Janis goes to great lengths to eschew COPYING, as if our lives are in fact NOT copies of others who breathe through decades of existence. We might go to concerts, operas, etc. and subliminally internalize how great musicians and singers turn a phrase. If we have a favorite recording of the Brahms B Flat piano concerto as I have (Richter with the Chicago Symphony) we often find ourselves adopting in our own playing what was musically engaging. I certainly look for great recordings, and attend performances by pianists and singers who inspire me. And I dare say, I might warm up to the tempo of a Chopin Mazurka, and overall style communicated by Ashkenazy or Perahia, and borrow it as my own.

Does this mean I am NOT creatively driven as a player, and by association as mentor? Have I lost my individualism through exposure to many influences?

Since I deal mostly with adult students, even those who have returned to the piano years following their studies as children, need specific guidance in the basics of piano technique wedded to tone production. (Phrasing is an outgrowth of merged skills) Otherwise fledglings and beyond, are lost, and ask, rightfully, for direction.

Finally, each pupil has particular strengths and weaknesses that need to be sorted and addressed in a pedagogically sensitive environment without framing lessons with a bunch of cliches or doctrinaire assertions that the teacher and pupil must embrace.

And in this wrap-up, I embed a video that has experienced wide popularity. For me, this is the gold standard in teaching the singing tone. Go ahead and COPY. It’s the best thing you can do for your playing and ultimate development.

And here I’m helping a student phrase Robert Schumann’s “Curious Story,” Op. 15, no. 2. Both teacher and pupil learn from each other in the creative learning cosmos. (Sometimes the teacher might “copy” the way a student phrases a line, because it is beautifully rendered)

SINGING, SINGING and more singing is the best nurturance of gorgeously spun lines. Both mentor and student should SING expressively through a fulfilling piano learning journey.

And that’s where Janis and I wholeheartedly AGREE!

Here I’m singing through a lesson: Chopin Nocturne in E minor, Op. 72

My late, beloved teacher, Lillian Lefkofsky Freundlich drowned out my playing with her singing during our 3-year musical association.

Richard Goode profusely SINGS during his masterclasses while he DEMONSTRATES at the piano for a student, and it’s a joy to behold.
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PS MY Comment at the WSJ article site
“This is a praiseworthy article where it concerns an ocean of repertoire study where a student is able to integrate the art of piano technique with aspects of interpretation. The challenge many piano teachers encounter, even with students returning to the piano as adults, is that the very basics of acquiring a singing tone with supple wrists, relaxed arms, and enlisting energies beyond the fingers, require down to earth emulation, demonstration and to a large extent, copying. At the level Janis addresses, it makes sense to harvest individual imaginations in phrasing, etc. but in my own experience with pupils of all levels, they are needing HANDS ON knowledge of how to create the singing tone–and what physical ingredients are involved. (Yes of course to mood-setting, emotional expression being intrinsic to the creative process, of which mental prompts and images can afford.)”

Kinderszenen, piano instruction, piano lessons, piano teaching, Robert Schumann, Schumann

When Upbeats have a new meaning and importance

For most piano students, an upbeat is considered a lighter springboard to a more predominant DOWN-beat, as if the UP in music should always be taken LIGHTLY. (except in Jazz framings where syncopations are characteristic of the genre.)

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We can universally agree that in the patriotic Star Spangled Banner, the dotted 8th/16th upbeat is conspicuously wedded to the baton assertive first beat of whole measure one, but this will not be set in stone, as exemplified in Schumann’s “Curious Story.” (Kinderszenen, Op. 15, no. 2)

The Romantic composer’s second tableau turns the upbeat cliche on its head, prodding the student to rethink his weak mindset. If he persists in embracing the subservient upbeat mantra that it must be a co-dependent partner to a domineering downbeat, the player will be headed in unmusical directions. In fact, as a practicing experiment, the pupil can downgrade the anacruses in the first 4 measures of “Curious Story,” to experience its effect.

Curious Story

During a piano lesson with an adult student, we UPGRADED our upbeat conscious-raising journey. In fact, it helped us to clarify phrasing and attendant choreography. (Use of the springy, supple wrist, for example.) Such rhythmic phase focus was just one of our examinations, since we also delved into section contrasts, breathing, and harmonic rhythm as they influence phrasing. (inclusive of Major/parallel minor emotional shifts, etc.)

One pertinent practicing tool is to LIGHTEN the load of voices, and pick out the uppermost soprano line to realize the buoyancy or LIFT of the upbeats, and to understand their importance and value in achieving the whimsical/childlike nature of the opening measures. They are quite motivic to the character of the piece as the composer envisioned it.

Play through

Practicing routines