Hello everyone, my name is Gianni, I have just introduced myself in the appropriate section, and I would like to submit the following to you: this year I have read a lot about the piano, composers, performers, I have listened to a lot of music (not just for piano) and I have just read the second edition of Chang's book "The Fundamentals of Piano Study", and now I am looking for my teacher... and it is precisely Chang's book that has put me in a crisis. On Saturday I met my possible future teacher, she is my age, she graduated from a conservatory (Bologna) and is musically active, meaning she performs concerts etc., and I think this is a point in her favor; however, when I spoke to her about hands-separate study, she gave me a strange look! and told me: "but when you learn to drive a car, you don't do it one piece at a time, you use everything simultaneously (feet, hands, etc.), so why do differently with the piano? And besides, hands-separate study does not allow you to enjoy the real message of the composer; that is, you essentially lose some 'melodic lines', let's say you erroneously spoil the ear and the piece."
She maintains that hands-separate study is only done in particular cases, i.e., when something is not working well. Then she proposed a book to start with that progressively makes you play with both hands by first doing them separately, playing 4 notes in sequence with the right hand and immediately after with the left hand (but not simultaneously), and then gradually joining them until playing some simple pieces included in the book itself (e.g., Christmas songs, Bach's minuet if I remember correctly, etc.). Regarding scales and arpeggios, she told me that she will tackle them when they appear in the piece. In short, she agrees with some of Chang's notions (even though she hasn't read the book but based it on what I told her), but for example, regarding mental playing or parallel ensembles, she has nothing to say! To make a long story short, I don't know what to do; I believe that the principles set out by Chang are correct (for example, my classical guitar teacher applied technique to the piece and not for its own sake). The alternative for me is to study using Chang's indications behind the teacher's back!!! but I believe this is not starting off on the right foot for someone who wants to undertake piano study. Do you have any suggestions other than looking for another teacher? I imagine not... perhaps you know a teacher in Bologna who is inspired by the Sandor methods, etc.?
Hi everyone, I would like to add that the method with which my potential future teacher wants to introduce me to piano practice is as follows:
"The First Keyboard" by D. Lane - P. Logan Ricordi Ed., vol. 1.
What do you think?
Sorry, I don't want to seem irreverent or hypercritical towards someone who has nevertheless achieved the goal of being a pianist, but I just want to start off on the right foot as much as possible; I know I will have little time available and I don't want to waste it.
In any case, I should give her a bit of trust and see how the teaching progresses, perhaps keeping a critical eye (in the sense of not passively submitting but reasoning about what she will have me do).
Hi Gianni, I find your second post more appropriate. Unfortunately, a "chat" with the teacher cannot replace the impressions one gets during a lesson and, in any case, we do not claim to say whether what some of our "colleagues" do is right, if you will allow me that term. We can say that each of us has our own ideas and I can tell you mine... I agree with your teacher when she says that technique must be practiced by finalizing it toward the realization of a piece. It is obvious, however, that if your hands are tied because it is the first time you have put them on a piano, you do need a bit of basic technique. Regarding the study of a piece, this goes through many phases. The first is a desk study of the piece, without a piano, to analyze the piece harmonically and get to know the phrases, themes, etc. Then one moves on to studying at the piano. Studying hands separately is often useful; it is useful for memorizing phrases, and it is useful for managing to overcome very difficult passages. In any case, I think rather that one should not spend too much time on hands separately—that's true—precisely because we must never forget to stay within the piece, and repetitive study with hands separate instead causes one to lose another very important aspect: playing what the composer wants to communicate to us. In essence, technique is indeed necessary, but it must not be aimed at pure finger gymnastics.
Simone answered you well. Anyway, studying hands separately should only serve to clarify certain passages. It is right not to abandon "the composition" and one must try to set it musically as soon as possible. One will return to perfecting it later, always, every now and then, recalling the "whole" of the piece.
Hi everyone, here I am again, my piano lessons started on the last Monday of January and next Monday we will be at the third lesson, one every two weeks mainly because I have one hour a day to study.
My study consists of using this simple method titled "la mia prima tastiera" (my first keyboard) by Lane published by Ricordi, where difficulties are progressively introduced; at the moment the method focuses on an extension of 3 octaves. The pieces I am studying have no key signatures and are quite simple (musically), e.g., Ring Around the Rosie, Old MacDonald Had a Farm, the theme from Ode to Joy, a short piece by Clementi, etc. What I have noticed is that all the pieces use repeated notes (using the same finger in 99% of cases), which I discovered is not exactly a trivial thing to do. So for now, no technique or discussions on gestures and elements (something I read with great interest in the books by Sandor and Chang but also on the forum); she tells me to play everything the same for now, she says she wants it all to be very
Of course you can use the informal 'tu' with me!! 😛
Oh no!! What did I make you understand?? I was smiling because from your post I noticed that you would want to do much more, but you have a teacher who is holding you back...
Probably coming from the world of guitar, you will need to get into the mindset of piano technique, so they probably want to focus on loosening the fingers properly and creating independence. In any case, it is too early to pass judgment and anyway, even if I didn't agree with a method, I would never allow myself, professionally speaking, to attack people who can't even respond to me, but above all, it's not my style. The decisions your teacher has made were surely made by realizing what needs to be done and in their experience, I am sure they know well how to proceed. Besides, we are not judges here; there is no better judge of you than yourself. If you get good results, it means the method works and as we have also said here, a good teacher is one who can immediately see who they are working with and how to work on that subject to produce results... If you also notice that you are getting good results, then the quality of the teacher is confirmed (this varies from person to person, not in your case, but there are also those who are stubborn, regardless of the teacher 😉)...
Thanks Simone, indeed I have a great desire to act, and to reach the point of playing what shakes my soul, but I must learn to be patient and enjoy what comes day by day.
Fine. I agree with Simone. Besides, we are not here to judge anyone's work. Results depend 50% on teaching and 50% on the student's talent and dedication. Many methods can be correct, even if they may lead to different results. I find your teacher's caution to be good. You will feel, within yourself, after a period of time, if things are going well for you. The books I mentioned must be used as manuals and formula books. The best study is the applied one in the presence of a teacher, who will choose to treat those parts that the student most urgently needs.
He claims that studying with hands separate is only done in particular cases, i.e., when something is not working well.
I'll tell you, there is a slice of repertoire in which it is truly needed very little and nothing... see for example the fugues, where it is better to play voice by voice and combinations thereof.
In other areas it can be fundamental; examples are urgently needed, but above all a beginner cannot refrain from tackling difficulties gradually, even if it means separately managing the work of both hands 😉
