PATHWAYS FOR PLAYING • by ANDREW EALES
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Some years ago, a highly successful man from the world of finance approached me for lessons. Essentially a beginner, he had previously tried a few lessons with another teacher locally, and I asked him why it hadn’t worked out.
His explanation amounted to a cautionary tale:
“I told her that I was only interested in learning Beethoven’s Tempest Sonata, but she insisted on trying to teach me dull Grade 1 pieces. I had no interest in learning them, felt unmotivated and annoyed, and made no progress.”
Naturally I tried to explain (as undoubtedly the previous teacher had) that the Tempest is an incredibly difficult work, requiring a range of highly advanced musical and technical skills. It is possible to admire and be inspired by the achievements of the world’s greatest players while enjoying working at our own level.
Alas, he was not for turning, and within a short time the lessons stopped, my name presumably added to the list of stubborn failures who had been unable to teleport him directly into the Tempest without his needing to follow in the footsteps of those pianists who have previously made the journey with success.
Teaching with a sense of structured progression and an underlying curriculum is not a matter of professional hubris or a money-spinning scam; it is the means by which learners can progress towards their goals, realising their potential. It is an act of generosity.
Nor is it negative, lacking in faith or discouraging to recognise that as players we all have our limitations. On the contrary: it is foolish, arrogant and self-defeating to think otherwise. For a start, we don’t know what we don’t know.
Deng Ming-Dao reminds us,
“Every river has its banks,
Every ocean has its shores.”
Deng Ming-Dao, 365 Tao Daily Meditations, Harper Collins
Continue reading The Pianist’s Limits