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Playing Mozart: Phrasing and Nuance

Expressing Mozart's piano music beautifully is a composite of many ingredients that include vocal modeling; an understanding of form/structure and harmonic elements; sound imaging, and in the cosmos of the imagination, exploring how to produce what we want to hear. In our ongoing phase of "experimentation," we delve through a terrain of unclarity, seeking ways… Continue reading Playing Mozart: Phrasing and Nuance

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Navigating Tricky Trills

Experimentation is central to piano learning in all its phases, including that which applies to the build-up of trills. Unfortunately, for many students engaged in such a learning process, rapid alternations of notes will often ignite instant panic and fear which tighten muscles, inhibiting a smooth flowing musical line. In some instances, the initial approach… Continue reading Navigating Tricky Trills

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Beyond Leon Fleisher’s riveting words about pianists and vocal modeling

Pianist, Leon Fleisher has given us his notable artistry over decades, while his insights about practicing and teaching have been invaluable for a vast community of mentors and students. In his latest interview that coincided with the release of a new album, All the Things You Are, Fleisher spoke eloquently about the intrinsic relationship of… Continue reading Beyond Leon Fleisher’s riveting words about pianists and vocal modeling

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Trading places with our piano students

As teachers, the empathy we have for a pupil's budding learning process with its slips and slides, is at the foundation of good mentoring. By remembering what it's like to be in the student's position, sitting at the piano under a professional gaze, we can increase our pedagogical effectiveness. If we revisit our own early… Continue reading Trading places with our piano students

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Piano Student: “I don’t know what I want to hear?”

A commonly registered concern among my brood of adult students circumscribes an uncertainty about phrasing and overall musical expression. Many don't trust their native musical instincts as they might apply to practicing fledgling pieces that are in early stage development. Yet a good sample of these self-doubters often have a natural inclination to shape lines… Continue reading Piano Student: “I don’t know what I want to hear?”

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Two-timing scale practice

I appreciate two-timing piano students who practice their scales with acutely sensitive ears. They are made keenly aware of what it takes to repeat a faulty step-wise sequence that's been thrown out of rhythmic alignment along a 4-octave route. (Auditory memory is a vital ingredient through repetitions that require retrieval of a consistent underlying pulse.)… Continue reading Two-timing scale practice

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Piano Technique: Soft staccato scales with projection, springboard energy, resilience, and shape

One of the biggest weaknesses that present in soft dynamic range staccato scales, is a lack of projection. Students often snuff out notes, play them in a whisper without a tenacious spring UP character, or a necessary rebound effect from note to note. Instead, they become inhibited and constrained. Yet even at the Forte level,… Continue reading Piano Technique: Soft staccato scales with projection, springboard energy, resilience, and shape