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I was curious if anyone knew of the pieces and/or books that accomplished pianist of today might have studied from. Did they start from a practice book as you do from most piano lessons, or did they start playing selections from the Well-Tempered Clavier?...etc. We ask today, how did they teach are most recognized names in classical music, or at least I ask. When Beethoven was being taught by his father, they didn't have any practice books, his father practically put a piece of sheet music in front of his face and(abusively) had him practice it. What are some of the most famous methods today of learning? There studies were progressive, so what pieces might they have started out with? So many questions and so many answers I would like to know. I am curious as this may help me in my piano study. I am afraid to pick up a classic practice book because I am afraid the companies that make them simplify the pieces. I am actually curious if classical artists had simplified pieces when they were learning.

I suspect that in a lot of cases we will never know the exact answers to these questions. I'm sure that with Beethoven we don't know the answer - of course we can guess, but even though B's father drank too much and was unkind, he was probably no idiot.

Some great pianists' studies might not seem "progressive" in the way we usually think of it.

Some of the piano practice books available do have simplified versions of harder music, because many people want to play something that sounds famous. But if you want music that is "real" and not simplified, you still have many good choices.
Is there something special that you're looking for?

"Accomplished pianists" is one thing.
People like Beethoven are something completely different.

The first category covers a lot of ground, and involves a very wide range of kinds of books and methods.

But if you're wondering more about the 'greatest' pianists and musicians, I think they generally progress at a pace and in a way that doesn't include anything like what you're thinking. They probably "start" at a level that is already surprisingly advanced, and a lot of steps that most of us have to follow aren't steps for them at all. (edit: I see that David said something very similar.)

To whatever extent you might be wondering what kinds of books or methods might make someone reach the very highest level of pianist or musician....I think we can be pretty sure it doesn't happen that way. They are more born than made, and to the extent that they may somewhat be 'made,' it doesn't depend on any particular method. But I do think it can be facilitated by being lucky with particular teachers.

David Dubal's Art of the Piano. It's the best guide ever written to the classical piano literature and its performers.

Playing the piano at a high level must have a large component of whatever "musical talent" is, but that's not the only thing. Another aspect, perhaps easier to work on and hopefully rewarding for anybody (musician or not) to pursue, is becoming a better/faster/smarter problem-solver. I have watched a few very fine pianists practice, and all of them had this in common: it was amazing to watch them encounter problems of any kind in the music, because they processed those problems quickly, calmly, and with deadly accuracy. Whether this skill in problem-solving is gained through long experience, a brilliant mind, or purposeful training (or most likely all three), it's certainly there.

(Unfortunately, sometimes those same people's success rate was far lower when they encountered problems in so-called real life instead of in a musical score. I'd advise anyone to not forget that part of the equation.)

A lot of the truly gifted concert pianists had already learned a lot on their own through their "perfect pitch", improvisations, compositions, etc before they went to their teacher... An example of that would be Evgeny Kissin playing Liszt rhapsodies and Beethoven sonatas plus his own compositions by ear before he even had lessons.

Therefore they did not have to start on something like Faber Book 1 or if they did, they moved through it very fast. I know someone went through the entire Suzuki method book series in less than two years finishing shortly before her sixth birthday and played the complete Tchaikovsky Violin Concerto at age 12.

I wouldn't be afraid to buy a few classical anthologies. Even if you aren't playing "big name" pieces there are still some very nice intermediate level stuff by "big name" composers that isn't simplified and it can be very well-rounding.

I learn't by ear when I was four, playing songs I recognised from nursery e.t.c., and then went on to a teacher after about a year.
I was taught initally by the Kenneth Baker books on piano and I think they are fantastic with some really good advice in there and it is cleverly laid out to suit beginners.

So, do you have any recommendations for classical anthologies?

Here are some I remember going through and enjoying sooo long ago:

The Concord Piano Books by Katherine David published by Schirmer
Piano Literature for the Intermediate Grades compiled by James Bastien and published by Neil A. Kjos Music Company (really recommend this one, there are four levels)
Classics to Moderns: Orignal Piano music of three centuries selected and edited by Denes Agay (there are five levels)
Melodius Masterpieces: Standard Literature for Expressive Performance compiled and edited by Jan Magrath

Most of these are available at fairly reasonable prices at Eckroth Music Store.

You might also want to consider this course.

Many of the world's greatest pianists achieved their greatness simply through practice, practice, practice. Richter was known to keep repeating the same tricky passage countless times (apparently for hours if required) in order to get it right. Of course there're also the gifted ones who seem to be able to play anything very easily, but maybe there're not as many of them as we often believe. For instance, an 'ex-prodigy' who has shot to fame recently (at least in the UK), Benjamin Grosvenor, gave an interview last week in which he said he started learning piano at 6 but was an indifferent student till 8, when he realized that other children were playing better than him. Then he decided to put in 5 hours practice a day....and the rest is history, as they say.

As for playing unsimplified music, I've never played any music that was simplified (if the original is for solo piano, that is), even when starting - my teacher gave me a lovely book of original piano/keyboard music of easy pieces (Mozart's K1 - 20, early Beethoven, Bach's Anna Magdalena notebook etc), so I never felt like I was demeening myself by having to play simplified music by the great composers......

Hmmm...like our practice-shy Aimi Kobayashi who didn't practice more than an hour a day up until about now and learnt the entire Waldstein sonata in a matter of a few weeks??



Hmm...sounds like me (except I'm no prodigy haha)... i started at eight and didn't care about it or seriously practice until I was 12 (when I realized it just wasn't normal for me to still be on Clementi sonatinas when everyone else is playing the complete Chopin etudes) and then I started practicing around 4-5 hours a day. It's amazing how much progress you can make if you just put in the extra time and effort.

Maybe there are MORE of the gifted ones than thought and not all of them are seeking the limelight at this time. And, not everyone can afford to travel to competitions all over the world. How much talent gets lost due to funding?!

A true love of music would most likely last a lifetime, and not everyone wants to be Lang Lang and have a bad relationship with a pushy parent.

Not so sure the amount of time put in is always key to success. Yes, practice is essential, but sometimes too much is bad for the body and soul. A balance of practice with what that particular individual needs seems best. Some may need 8 hours, whereas others only 3 or 4 to accomplish the same end.

Aimi is not a favorite of mine. I just don't enjoy the her movements or the same "expression" in every piece. Please don't write back telling me I am wrong, as this is just my opinion. I prefer pianists that show their expression differently with each piece. Music is personal taste and she just doesn't impress me, except for her smooth technique--something I commonly see with many Asian (not just Asian, but predominantly) pianists. These same disagreements are always happening when people refer to the great, but long gone pianists of the past.

I am tired of what appears to me to be fake "expression," since it doesn't change much at all. Aimi is not the only one out there who does this. If she is still playing at age 40+, then we will see what develops. It is amazing when the technical ones start to find the real music.

I know that people refer to prodigies quite often and assume what is happening behind the scenes. I am familiar with more than one of these who that term is used for and can say that each has had a different beginning. Most do start simply, they just move faster up through the levels. Do what works for you.

I can say this, most of these kids don't want to play on their own. A parent signs them up and something clicks or it doesn't. Some though, beg to learn, and that kind of love, if nurtured properly, will last a lifetime. That kind is rare. The kind that asks to compete, wants to compete, wants to perform...those are the rare "prodigies." Musical prodigies are common, but those who cannot wait to play the music at any age, are the rarest.

Every teacher has been taught a different technique. Every teacher uses different starter books. If you are doing something and it is not working, there are always plenty of other options.

What? There is no shortcut. Get yourself a teacher once and for all, Tyler. It doesn't have to be a concert pianist or a university prof. Mrs. Smith, who has a strong understanding of the basics and mechanics of playing coupled with the ability to actually convey such knowledge to beginners will do just fine.