What advice would you give your beginner-self?

What advice would you give your beginner-self?

 

Be kind! šŸ˜„

65 replies

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    • Have a growth mindset, no matter what!
    • Gail_Starr
    • 3 yrs ago
    • Reported - view

    Try to find a friend or two who can support your learning.  I’m SO lucky to have my amazing friends here at Tonebase, because the wonderful people I meet at work or the gym simply don’t ā€œgetā€ why I like to spend time repeating sections of a piece over and over. 

    • Software Architect - but.. really a musician.
    • Michael_Bruce
    • 3 yrs ago
    • Reported - view

    Spend a lot of time finding a good teacher that you really like.

     

    You will save time by slowing down so practice slowly and work on the week areas.

     

    Don't stop playing music for years because you do not have a plan and life WILL take over if you do not plan.

    • Tanya
    • 3 yrs ago
    • Reported - view

    Read a book about the composer’s life and listen to all of the composer’s music, orchestral and choral included, to better understand the piano pieces before you start studying them. When you’re young, there is a tendency to just do what the teacher tells you and always at the piano. 

      • Pauline
      • 3 yrs ago
      • Reported - view

      Tanya "Read a book about the composer's life"...Yes!

    • Chris_
    • 3 yrs ago
    • Reported - view

    Do more sight reading and worry about the actual notes less.

    • Pauline
    • 3 yrs ago
    • Reported - view

    Excellent advice! I would say have measurable, clear goals. Be patient with oneself and find positive attributes to build upon.

    • Jonathan.8
    • 3 yrs ago
    • Reported - view

    My advice would be "play lots of repertoire from the beginning, and the technique will come."

    Starting out and mostly self-taught, I spent many years hyper-focused on doing as many technical exercises over and over (Hanon, Schmitt, Philips, Pischna, etc.). I felt that mastering all these technical things would put me on the road to mastery. However, I would play very little actual repertoire - I spent any given practice almost 80-90% on exercises, and what little time remained on some repertoire. Seems boring (and it was!), but for some reason I had convinced myself this was the best way to learn piano. I also think exercises felt like something I could master because they are usually short and easy to memorize as patterns. However, it seemed like I couldn't play real music or even play these techniques in context.

    It wasn't until I worked with a teacher who looking at what I practice immediately basically said I need to flip the ratio of technical exercises to repertoire - 10-20% on exercises, and the rest on my time repertoire. Also exercises should be focused on addressing an issue in your playing, not practiced randomly or mindlessly for the sake of it. This felt scary but ever since then, my piano technique has exploded exponentially. I've discovered that many "exercises" can be found hidden in repertoire itself, and you get to enjoy playing real music. If I need to pump up the challenge, the best trick I learned is to take passages of repertoire and simply transpose them. Best of both worlds as you're playing real music, but you also get to apply it to different keys and fingerings for technical exercise, and it helps with ear training too!

    • Retired Anaesthetist
    • Kaja
    • 3 yrs ago
    • Reported - view

    I should never have stopped at 16 years old.  Circumstances were against me, but I should have found a way, or resumed sooner.  Now at 77 ā€œ relearning ā€œ is difficult but satisfying.  

      • Tanya
      • 3 yrs ago
      • Reported - view

      Kaja 

      • Tanya
      • 3 yrs ago
      • Reported - view

      Tanya I stopped for 40 years, and coming back wasn’t easy, but a sheer pleasure. I’m enjoying practicing, playing and delving into everything I can lay my hands on. What a treat! One lifetime isn’t enough. 😌

    • Charles_Lapin
    • 3 yrs ago
    • Reported - view

    Paramount: set reason expectations. Understand the and enjoy the sounds from your "wrong" notes. They are part of the greater pallet available when improvising. I spent way too much time on Hanon and not enough sight reading and almost no time on theory nor improvisation. So I would rebalance making sure I understood theory especially functional relationships, some sight reading and improvisation daily (these should be fun time) and lastly focus deeply and slowly on one "recital" piece. Learn the what and why of the piece, not just how to play the notes. Praise yourself everyday you are at the piano (read Just Being at the Piano by Mildred Chase).

     

    As others have stated: you need a guide for the adventure. Make sure the guide shares your values and expectations.

    • Allan_Freilich
    • 3 yrs ago
    • Reported - view

    ā€œNo Pain, no gainā€ is not for piano.  Find a Taubman teacher

    • rada_neal
    • 3 yrs ago
    • Reported - view

    I always like to sight-read both hands the entire piece....I would tell myself ok but after the first time through  to go for ' chunks' ,'more difficult passages' first...nobody every really taught me how to practice . But hey, I have a degree in music and I do know how to practice now:)

    • Sachi
    • 3 yrs ago
    • Reported - view

    I regret answering no thanks to an offer my piano teacher suggested, which was to invite his colleague piano pedagogue to listen me playing. I was scared of playing piano in front of audiences. and I didn’t think it was necessary. I had already a teacher who inspires me. I wish I had known better and grabbed the opportunities. 

    • Kristiana_Celestine
    • 3 yrs ago
    • Reported - view

    Piano learning has lots of fun.

    Stay calm, be patient, be positive😊

    • Will.1
    • 3 yrs ago
    • Reported - view

    Practice purposefully (Don't keep playing what you've already mastered).

    Invest in a competent piano teacher early on. (You can't teach yourself to play by only using how-to-play-piano books no matter how hard you try) 

    Celebrate your hard work and effort, and stop comparing yourself to others (because there will ALWAYS be someone better than you). 

    Enjoy the journey (because it's a marathon, not a sprint). 

    • Karel_Houbenski
    • 3 yrs ago
    • Reported - view

    Be gentle to your piano, so don't hit it, but pet it like it' s your dog (considering you don' t hit your dog😁).

    It will sound better, and it will prevent you from having lots of technical problems.

    • Steve_Simpson
    • 3 yrs ago
    • Reported - view

    Don't be afraid to change teachers until you find a teacher that you connect with.

    • Charles_Burns
    • 6 mths ago
    • Reported - view

    I would tell my self to learn figured bass earlier, also to practice sight reading every day, is the most useful skill, if you can sight read well you can play anything!!

    • Peter_William
    • 5 mths ago
    • Reported - view

    I was considered 'largely tone deaf' in my childhood.. :-) Then a friend of mine in univ. taught me to read a very simple score (at 18). He was very musical - was trained as a piano student by a teacher for 9 years.  I have written about this on another thread. So I learned how to play Bach's prelude in C in a couple of weeks or so nearly 40 years ago. He basically proved to me I wasn't tone deaf. lol!.  which was a huge relief to me. Now in the past 2 years I have learned quite a bit and play on a baby grand at home.  What I would do differently if I had started with what I know now?

    1. Reading the score is great - but playing slowly is way way better. I stumbled on playing slowly. My friend could hear Beethoven sonatas from the record player and reproduce it on his Steinway - so he probably didn't have time to tell me that you lower the tempo and try to be exact.  :-) .  

    2. Absolutely focus on rhythm first !! This I completely glossed over until 2 years ago - understanding 4/4, 3/4,6/8 and interval division of 16th notes and counting rigorosly with a metronome was a game changer for me as a beginner. I would not worry about incorrect notes. I never understood rhythm and played a few elementary pieces until 2 years ago. Yes I didn't have a teacher (1-1) but on YT and TB  you can pretty much find whatever you have a problem with - if you know how to ask the right question. I have about 115 channels and some of the most wonderful teachers who I have never met. lol! And I thank them each day now .. when I can happily switch playing from Beethovens Piano Sonata 7 (2nd mvmt) to Chopin C# nocturne. This would have been ridiculously impossible from me 2 years ago. Let's be very clear - I am still a very elementary beginner. But playing is fun and I can happily switch pieces and have a speaker at the back of the piano and stream the great masters line by line and learn with no one present. 

    3. I did a "project" of a large piece (3 movements of a concerto ) in sections and doggedly stuck to it for several months. Breaking down lines and sections and checking the recordings and this was extremely helpful in getting a grasp of music at a high level and facility with it. And it possibly helped me with sight reading. But if I were to redo.. the 25 pages would be split into 3 page chunks only and then proceed only memorizing 3 pages at a time. I didn't memorize - so I would start memorization right away on new pieces. Currently if the score is not in front of me I am pretty much toast .. lol!

    4. I didn't care about playing with anyone present and told everyone around me I bang on the piano as a relief. So they have no expectation of me to produce anything of great quality.. lol! I invented this solution for myself because a Local Prof. of music - a family friend - gave me a very public scolding for not taking lessons from a teacher about 9 years ago.. I have not played with her present anywhere since . .lol! So basically don't ask any accomplished musician about your music.. the result may be disastrous for your personal progress. 

    5. Since  I am past 60 - this should be fun and nothing but fun. I have watched 5 yr old prodigies play pieces more musically than I ever will and there is nothing to be thought of that. Just enjoy the beautiful playing of the 5 yr old and applaud!.  

    • Akzent oder Diminuendo?
    • Maria_F
    • 2 wk ago
    • Reported - view

    Slow down, don't rush. 

      • Peter_William
      • 2 wk ago
      • Reported - view

       but don't slow play forever you won't reach the concert hall. After significant slow practice you must play fast ! for fast pieces. No choice ! and you have to play in public - regardless of mistakes or level. Really no choice about it.

      • Akzent oder Diminuendo?
      • Maria_F
      • 2 wk ago
      • Reported - view

       Before one can play anything at performance tempo, it is necessary to practice slowly, in time with the metronome, first hands separately, and then together only after it is basically mastered separately, with proper articulations, dynamics, and expression in both hands.

      I think that your playing could benefit from more slow practice, and definitely more work with the metronome.

      • Peter_William
      • 2 wk ago
      • Reported - view

       read carefully what I wrote above - specifically about slow playing and practice! I would like to see your practice if it helps. How about posting your practice session to backup what you say, it certainly will help me understand? 

      Seeing 1 short example is worth more than writing 1000 pages about it. :-)

      • Der Wanderer
      • FRANZ_SCHUBERT
      • 2 wk ago
      • Reported - view

       I do not wish to speak for Maria because I may be wrong but I think you misunderstood the advise she was giving?  Granted, we will all see (or hear) things differently and this is a good thing, in my opinion.  I am answering for myself only but I believe she is suggesting that we should pay more attention to "music" and choose a more appropriate tempo than maybe just that of the current trends or expectations (ie. blindly play as (loud) and fast as possible - always). 

      In my view and experience, the equation of musicality looks like this: 

       => the faster you play something equals a profoundly less musical outcome.    Period

      This is not a personal statement directed at anyone's choices.  And yes, of course some music is specifically meant to be played fast.  I am just making a general statement that is provable and is based on the concrete laws of math and physics plus common sense.

      Briefly, I think we all can agree with this if you think about it.  Take a simple problem such as how many notes per second can literally be played by anyone?  There is obviously a limit to this.  We are limited physically as human beings and the instrument itself has built in design limitations of the action and so on.  If you are always playing at the limit of what is physically possible, I don't think it is as likely that you can focus on the many, many fundamental musical aspects of any piece of music - phrasing, articulation / touch, tone, dynamics, rhythm, harmony/counterpoint and other tools that promote our musical interpretation and understanding.  I believe there is a trade-off.  If you are focused only on speed it is not possible to equally focus on these other important aspects.  In fact, the faster you play directly reduces these other musical elements by an equal amount.  You cannot do as many things if you have to play speedily.  So choose your tempo wisely.   Also, find the tempo that makes sense to you and not just because everyone else is telling you what that tempo is.  There should be balance between all these aspects.

      So Peter, I don't know why your response struck me so directly opposite to my own sensibilities.  I do understand it though as I may have said the same things in the past and the change in my whole approach to music has been turned upside down only in the last year or two.  I've never been happier.  Today though, for each point you made I would answer as follows:

      ...you won't reach the concert hall:

      Good! Why would I want to sell my soul to please the "there is only one way to play crowds?"  Do you notice how the recordings / competitions / music schools all stick together to promote only one way of playing (fast and loud)?  This used to be a lifelong dream of mine but not anymore.

       

      ...After significant slow practice you must play fast !  for fast pieces.   

      I would encourage you to only have as your main goal to play musically and to be true to the music/composer.  Play fast (or faster) only if the music calls for it (Presto) and you have the skill to play fast AND musically.  Also, learn the difference between Lento, Largo, Andante, Moderato, Allegro, and Presto etc..  You shouldn't be playing Allegro as fast as possible, or Andante as fast as possible, or Largo as fast as possible.  Strangely, this is really what commonly happens today.  Maybe it isn't so strange given the point above and the implied meaning that you won't make it to the concert hall unless you play fast and loud?  

      Also, for example, if someone is playing Allegro as fast as possible (which is Presto?) ask them to demonstrate how this would possibly sound in Presto!  They can't because they are already playing as fast as possible.

       

      ...No choice !   

      Actually, I still believe I have a choice!  ;-)

       

      ...and you have to play in public.  ...Really no choice about it.   

      Actually, I still believe I have a choice!  ;-).   Further to the playing in a concert hall response, I will end with the most controversial viewpoint, if you can imagine that!

       - Playing for people who don't play an instrument themselves (or aren't musical):  I would say what is the value in this?  Especially if the person is NOT interested in classical music.  If someone shows some interest then it is a different story. 

       - Playing for people who do play an instrument:  It depends on whether the people are generally musical or non-musical.   As is so commonly said, why defenestrate yourself to play for unmusical but very critical, demoralizing people?  This does more harm than good in the long run and I would include having a bad teacher as equally as problematic.

       - Now playing for musical soul mates (people who are musical and search for the truth)?  YES, this is this gold standard and I would highly recommend and encourage this as very valuable and worthy pursuit.  The problem is that the non-soulmate supply vastly out numbers the actual soul mate supply like 100000:1.  But I would rather play for just one person (who is musical) and never be known than to a concert hall full of thousands of people who aren't musical and critical and judgmental and so on.  

      The difference might also be in your motivation as to why you want to play in public?  To please others expectations or your own?

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