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#2361976 - 12/15/14 04:24 PM "Piano Lesson Myths"
rintincop Offline
1000 Post Club Member

Registered: 05/11/04
Posts: 1618
I had to share this with you all:

"Piano Lesson Myths"

http://www.soundfeelings.com/free/piano_myths.htm

I especially interested in the:

“Practicing piano should be an enjoyable experience.”

1.) "Reality: Real practicing is very, very tedious and boring. The reason that so many people start piano and then give up right away is because they wrongly assume that since they like music and they always wanted to play the piano the the experience of practicing itself would be enjoyable. Either they find out that this is not true and quit, or they continue taking lessons for years without getting much results — under-achieving because they keep avoiding doing the real work. What you have to realize is that the RESULT of having practiced is what is enjoyable. When you get good at the instrument, or when you have mastered a particular composition — THIS is when it will be fun and rewarding. But please be clear: practicing is NOT FUN."

2.) "Forcing a child to study piano is for their own good and they will appreciate it later.”

"Reality: For the small percentage of people for whom this may be true, there is a much higher percentage of people who end up permanently pulling away from music! I can verify this as most of my students are adults and many of these are “returnees.” These are people who quit the piano for 35 years because they were traumatized as kids, being forced to play in recitals that they were not prepared for, or to take endless lessons that they hated. These are people who, as a result, overcompensated by having NO music in their life at all! These broken souls need a lot of encouragement and healing and love. They can definitely become confident musicians in the long run, but it is very hard work at that point, because the trauma often cuts so deeply into their consciousness. If I detect that a child does not like the piano, then I will inform the parents that I cannot be his or her teacher, because I do not want to perpetuate such a cycle."

Wow, that is so honest.

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Piano & Music Accessories
#2361977 - 12/15/14 04:25 PM Re: "Piano Lesson Myths" [Re: rintincop]
rintincop Offline
1000 Post Club Member

Registered: 05/11/04
Posts: 1618
This is good:

"“Improvisation is something I will only be able to do in the future, after I understand theory better.”

Reality: Start now. Don’t be limited by what is normally thought of as “jazz improvisation.” This type of improvisation is what I call “mental improvisation.” In order to do this type of improvisation, you must use your mind to be aware of chord changes and understand various scales and notes that correspond to the current chord. But there are other types of improvisation. There is “emotional improvisation” and “free-play improvisation.” Emotional improvisation is when you express your emotions through music. Spiritual improvisation is when you are tuning-in to something bigger than you (“channeling.”) Ironically, in order to do either of these two other types of improvisation you must turn OFF your mind. Therefore they are NOT mental. I find that it is valuable to allow yourself to develop these alternative methods of self-expression concurrently (while) you are studying theory. This is because they will create an intimacy or connection to the keyboard that you ultimately will want. For example, if you studied theory for eight years, you might STILL feel a veil between your fingers and the keyboard. Knowing theory alone will not make you a better improvisor. You also need courage, spontaneity, and freedom to express what you hear in your head instantly. How will you develop this intimacy with the piano? Playing your feelings and tuning-in to something bigger than you, without judgment, a little bit every day, is a wonderful way to develop this comfort level. Eventually, when you do know all the theory you desire, your fingers will be at liberty to execute your musical whims."

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#2362158 - 12/16/14 12:13 AM Re: "Piano Lesson Myths" [Re: rintincop]
pianolearnerstride Online   content
Full Member

Registered: 01/27/13
Posts: 30
Originally Posted By: rintincop
I had to share this with you all:

"Piano Lesson Myths"

http://www.soundfeelings.com/free/piano_myths.htm

I especially interested in the:

“Practicing piano should be an enjoyable experience.”

1.) "Reality: Real practicing is very, very tedious and boring. The reason that so many people start piano and then give up right away is because they wrongly assume that since they like music and they always wanted to play the piano the the experience of practicing itself would be enjoyable. Either they find out that this is not true and quit, or they continue taking lessons for years without getting much results — under-achieving because they keep avoiding doing the real work. What you have to realize is that the RESULT of having practiced is what is enjoyable. When you get good at the instrument, or when you have mastered a particular composition — THIS is when it will be fun and rewarding. But please be clear: practicing is NOT FUN."



I think that when you see a roadmap to your progress ahead... then practicing can be more fun... or at least less unpleasant.

ie: when you know what you're practicing now will pay off later... what you're practicing directs you towards your ultimate goal.

I think when you feel like you're spinning your wheels... or what you're practicing is not taking you towards your goals... it gets frustrating. For example, if you're going through classical training with the hopes of being able to play jazz...

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#2362480 - 12/16/14 07:25 PM Re: "Piano Lesson Myths" [Re: rintincop]
rpw Offline
Full Member

Registered: 04/04/14
Posts: 92
jeez.. why is this in every forum?

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#2364970 - 12/23/14 02:29 PM Re: "Piano Lesson Myths" [Re: rpw]
EM Deeka Online   content
Full Member

Registered: 10/08/13
Posts: 207
Originally Posted By: rpw
jeez.. why is this in every forum?


Don't worry, just the link will be added to every thread in future grin

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#2365703 - Today at 04:56 AM Re: "Piano Lesson Myths" [Re: rintincop]
Nahum Offline
Full Member

Registered: 09/27/14
Posts: 332
Loc: Israel
Originally Posted By: rintincop
. There is “emotional improvisation” and “free-play improvisation.” Emotional improvisation is when you express your emotions through music. Spiritual improvisation is when you are tuning-in to something bigger than you (“channeling.”) Ironically, in order to do either of these two other types of improvisation you must turn OFF your mind. Therefore they are NOT mental. I find that it is valuable to allow yourself to develop these alternative methods of self-expression concurrently (while) you are studying theory. This is because they will create an intimacy or connection to the keyboard that you ultimately will want. For example, if you studied theory for eight years, you might STILL feel a veil between your fingers and the keyboard. Knowing theory alone will not make you a better improvisor. You also need courage, spontaneity, and freedom to express what you hear in your head instantly. How will you develop this intimacy with the piano? Playing your feelings and tuning-in to something bigger than you, without judgment, a little bit every day, is a wonderful way to develop this comfort level. Eventually, when you do know all the theory you desire, your fingers will be at liberty to execute your musical whims."


That's right! However, you said "A" and "B", and consequential "C" no! Emotional improvisation should be developed not on the piano - it should be a means of expression, but the main work -  of ACTOR.
Example from experience: in my college, I taught for several years improvisation workshop . In parallel, I began to attend drama school to learn about the methods of work on theatrical improvisation. It was a great discovery - the benefits of a single lesson, which I brought out, exceeded the benefit of 4 books about jazz improvisation together ! Hotly recommend to any teacher!
In my group were 8 students; two of them were advanced,the rest weak or very weak . During the improvisations on the blues form each of them fought with harmony, rhythm and "correct" notes; the sound was expressionless, and most improvisation in general sounded like something trying to play according to the rules. Then I suggested the following: all the participants are divided into pairs, where each pair starts to dialogue with each other without a word - exactly what I saw in the studio for theatrical improvisation. There had to submit a transfer from one to another some kind energy to a distance of ten ft without a single word, and it must be compelling to the viewer.I am allowed to use mooing with a closed mouth. First, the students had fun, then been drawn into the process , and began to sound real dialogues.After 10 minutes of this work, I asked to take the instruments in hands and start playing the same dialogues in the same pairs.
The effect was absolutely fantastic! "Wrong" notes as they were, and remained; but everything else has changed unrecognizably: the sound (guitars, saxophone, piano) from a featureless turned into an expressive and received energy; there was a clear phrasing breathing; but most importantly - each played sound, right or wrong, got sense! Unfortunately at the time I didn't record lessons, and now I have no workshop.
Someone could tell me:  in which   exactly musical academy, college or school   academic or jazz students learn   art of acting?

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