Continue reading “Me Time”: a work in progress
A work in progress! That’s how I would describe my work life balance. How’s yours?
The other morning, while enjoying my first cup of tea for the day, our puppy Bella Bardóg decided to keep nudging me for attention, distracting me from reading the book in my hands. I rather thoughtlessly responded with,
“If you want the book, how about you read it to me?”
Bella looked somewhat forlorn, and my wife Louise chipped in with,
“Don’t humiliate her! You know she can’t read!”
This slightly daft domestic anecdote illustrates a hugely important truth: when we ask somebody, anybody, to do something we know they are incapable of, we humiliate them.
How often, perhaps inadvertently, do we do this to our students?
As well as an aspiring dog-whisperer, Louise is a clinical specialist in child and adolescent mental health, and it is only fitting to credit her for many of the thoughts which follow, emerging as they did from our discussion that morning…Continue reading The Piano Student’s Humiliation
When I started teaching a quarter of a century ago, the bulk of my students were children. They and I depended on their parents for payment and support, which sometimes also meant direction. And the crucial (if at times complex) triangle relationship between teacher, pupil and parent was a fundamental in almost every private lesson context.
Continue reading Parents, Partners & Supporters
Today the world has changed considerably, and one of the many differences for teachers is that the network of relationships around the private lesson context has become a far more complex and diverse one.
Once upon a time, books were something very special – not mere repositories of bullet-pointed knowledge, but containers of true magic whose words could unfetter the imagination and conjure into being a genuine sense of wonder.
It seems to me that as the internet age comes to maturity there has been a concurrent if unexpected reappraisal and renewed appreciation of the tactile immersion made possible by a traditional, high-quality physical book.
Riding the crest of an exciting wave of publications crafted to the highest standard, and with a deliberate nod towards the publishing values of an earlier generation, comes a small but highly significant volume by Mark Tanner entitled Mindfulness in Music, published by Leaping Hare Press as an imprint within their ongoing series of mindfulness-related books.
The book is an inspirational delight from cover to cover (and including the covers themselves!) and I highly commend it to Pianodao readers as the “must-read” book of the season…
- What is it that motivates us as pianists?
- Why did we start learning to play the piano? ..
- And why do we continue to play?
- What are our piano goals for the future? ..
- And how do they excite us?
- How can we motivate and inspire our students?
Ask these questions to a hundred pianists, and there’s a good chance you will hear a hundred different answers – but some common themes will most likely emerge.
In this article I am going to consider the many and complex motivations we all experience in life, focussing in on the difference between intrinsic and extrinsic motivations, and how each pertains to our piano playing.
Guest post by Simon Reich
Unless you lived in a humidified bubble, away from sharp objects and potential harmful items, injuries are part of life.
The response to my invitation for stories and anecdotes regarding incidents that may have curtailed your piano playing or ended your musical career altogether was overwhelming. As I was therefore unable to squeeze the material into one blog, I’ve been compelled to write a second part to You Can’t Stop the Music.
Just to reiterate, the injuries were not necessarily musically acquired, but things as simple as falling off a bike, crushing fingers between two bricks or hurting your back slipping down a flight of stairs.
Amazingly, after writing the first article, I found out my mum has some nerve problems in her fingers.
She told me that as children, her siblings would melt wax on their fingertips and when cooled to dry, play the piano as a fun alternative to the standard method! This was the way she described how playing the piano keyboard now felt. It hasn’t stopped her from performing but it’s certainly put a spanner in the works of eliciting dynamics and feeling to her performances.
In traditional Daoist lore, the turning of the Chinese New Year can bring about transformations to prevailing energies, both subtle and more sweeping.
In previous years I have written about the Year of the Fire Monkey and the Year of the Fire Rooster – now, as we commence the Year of the Earth Dog, let’s briefly consider – albeit with a light touch – what this might mean for the coming months …
As I write this I am in India on a two-week yoga retreat, in which each day has started with a reflective discourse on the ethics outlined in the Yoga sutras of Patanjali, the classic text from which yoga theory subsequently developed.
The first, foundational ethic presented by Patanjali was ahimsa, which can be literally translated no harm, and intrinsically means be kind. Without kindness, there can be no true yoga. And yet, as our teacher rather decisively noted:
“There are plenty of people in this world who can touch their toes – but who are still basically arseholes!”
As usual, what is true in one field can equally apply in another, and certainly from my own observations of pianists – both in online forums and the ‘real world’ – there are plenty of very fine piano players and teachers who, it would seem, somewhat lack kindness.
So how can we encourage the piano community to be a kinder one? As always, the answer must begin with ourselves …