Amateurs have nothing to lose by being musically true to themselves…… professionals are sometimes too intimidated to display their individuality

– Daniel Martyn Lewis, concert pianist

The world of the adult amateur pianist is rich, vibrant and varied. In researching this article I came across myriad stories of triumph over adversity, personal tragedy and dogged determination, of unhappy childhood lessons abandoned only to rediscover the joy of the piano later in life, of exam successes and the frustrations of practicing, but what runs, fugue-like, through all these accounts is a genuine and often profoundly deep passion for the piano.

The cultivation and participation in the activity of playing the piano, and the commitment to it, is very strong amongst amateur pianists, perhaps because the activity is undertaken voluntarily, not for money, and for the intrinsic pleasure of playing and also striving to improve.

The more you learn, the more you realise you still have to learn – so you never run out of stuff to do. You can take as long as you like to learn something difficult, or learn something easy within a short time.

– an adult amateur pianist

Adult pianists enjoy greater autonomy and self-determination than they probably did as children taking lessons, when there was parental and teacherly pressure to practice and progress, the treadmill of exams, and being made to learn repertoire which they disliked (this is very much my own memory of childhood piano studies). Being solely responsibility for selecting your own repertoire and organising practice time is often far more satisfying. A love of the learning process is also very important in fostering a willingness to stick at the task and many adult pianists continue in their piano endeavours because they enjoy being the perpetual student or lifelong learner.

It’s an intellectual challenge, but, crucially, one that I can dip in and out of – shorter bursts of practice seem more beneficial than four-hour stretches, which I wouldn’t have time for. There’s also something very satisfying about reaching the point where your hands seem to know just how to play a piece, and what was previously the subject of great effort becomes almost instinctive. 


I love the rare practising sessions, when I don’t have to watch my time and can go back to previously played pieces (hours can go by without me even noticing, because I get so lost in it)

– Sylvia

Many amateur pianists attest to the therapeutic benefits of playing the piano (and engaging in music in general), not only for relaxation or escapism after work doing one’s “day job”, but for more significant, life-changing or healing therapy.

At the age of 29 my partner of 5 years took his own life. I was in a desperate state when I walked passed a music shop and saw a special offer on a weighted action keyboard … on impulse I bought it….I played for hours and hours each day. I’m not a pianist: I am someone who finds great comfort and therapy in playing. I’m a great believer that playing literally saved me… gave me a purpose

– Gary

I started playing the piano when I was 25 as an aid to recovery when I was going through one of my depressive states. I find music so uplifting that I’m now want to take it further and possibly get to a professional level. Being totally blind doesn’t stop me playing the piano the way I want to

– Lucy

I find playing the piano is an excellent opportunity to focus in a way that’s just not possible at work; it slows down your train of thought and forces you to stay in the moment.

– Clare

Those of us who teach adults are regularly impressed by the persistence and determination to improve which these pianists display. They may not have much time to practice, snatching precious moments at their beloved instrument between the demands of work and family life, but they do so with commitment and (usually) enjoyment. Some grow frustrated with the slow pace of progress and arrive at a level which is “good enough” for them to enjoy playing pieces; others strive for excellence, recognising that deliberate practice, self-regulation and reflection are the keys to success. Many take regular lessons or attend piano courses, at home and abroad, relishing the chance to study with a master teacher and meet like-minded people.

lessons are a great opportunity to think about the piece as a whole, and to actively articulate what is happening in the music in a way that isn’t easy to do on your own at home. External scrutiny is also very helpful in making sure practice happens

– Clare

I treasure the chance to learn from established, respected musicians and to challenge my own ways of thinking.  It’s then up to me to synthesise the various ‘inputs’ I have gained along the path of learning a piece – mostly between my regular teacher and the sometimes differing thoughts of whoever is taking a masterclass

– Douglas

Many adults who return to the piano years after ceasing lesson as children or teenagers reveal the hangover of authoritarian parents or teachers when they recommence lessons. I have taught adults who have had inculcated in them a clear sense of a “right way” to play the piano, or insecurity and self-doubt about their abilities, previously engendered in them by a dogmatic or overly negative teacher who continually highlighted mistakes as “failures”. Such attitudes can take time to change and empathetic and supportive teaching is crucial in these scenarios. Sometimes adults come to lessons with unreal expectations – I used to teach a London black cab driver who wanted to play Rachmaninov’s Third Piano Concerto. “I’ll do it one day!” he declared at his first lesson. But beneath the bravado was an anxious person who lacked confidence and was highly self-critical, and who needed gentle coaching to help him find his way through the first movement of Beethoven Op 10, no. 1 and a Bach Prelude. One of the many roles as a teacher of adult amateurs is to manage their expectations in a non-judgmental way and without ever dampening their spirit or enthusiasm for learning.

It has been the best decision to re-kindle my passion for playing piano. I don’t perform and feel very amateur still, but just enjoy practising, learning and improving.

As an adult, I am dedicating far more time and energy into improving my skills and learning about good practise than I ever did as I child. I absolutely love it, find playing therapeutic and relaxing, and enjoy learning new things every day.

– Ruth

Playing the piano can be a lonely activity, and while many enjoy the solitude and the chance to spend time with the instrument and its rich repertoire which we as pianists are so lucky to have, the opportunity to interact with other pianists can be hugely important. Piano clubs and meetup groups are a popular way to connect with other pianists, perform in a friendly environment, share repertoire and socialise for plenty of “piano chat”. Such groups can also provide invaluable support to those who are nervous about playing in front of others and promote the feeling that we are “all in it together” – because members of piano groups understand and appreciate the difficulties and the pleasures.

The piano meetups are truly inspiring and they help me to realise that I am by no means alone in my difficulties and it helps to discuss them with other adult pianists.


Performing, though never ever undertaken lightly and often fraught with anxiety and self-doubt, carries fewer consequences for the adult amateur pianist. One’s career prospects are not dependent on a pristine performance and there are no critics in the audience, barbed pen at the ready to flag up errors.

It helps that no matter how badly wrong a performance goes, there are no “real consequences” for me; I can fall flat on my face on stage (either literally or figuratively) and come Monday, nobody at work knows what happened. That really helped my performance anxiety.


Playing for one another in the informal atmosphere of a piano club (perhaps in someone’s home) or meetup group becomes an important shared activity – sharing music, repertoire and the sheer pleasure of playing the piano. Each performance is greeted with enthusiastic and supportive applause, and often such gatherings are places where new discoveries are made – about oneself as a pianist and performer, and of repertoire.

And for all the adult amateur pianists I spoke to in preparing this article, the notion of the piano as a “friend who has always been there for me” is very strong, providing solace or relaxation after a tough day at work, or simply a place to go and “play”.

I’d encourage anyone to play – it’s truly a beautiful thing regardless of ability

– Anthony

Thank you to all the amazing adult amateur pianists who contributed to this article.

The self-help/life coaching section of the local bookshop is full of books on how to learn from the pros – think like a pro, act like a pro, be more pro. We are encouraged to draw inspiration from successful professionals – whether they are sports people, musicians, chess players or high-flying financiers whose “pro-thinking” has made them shedloads of money.

Be more amateur” – said no one ever

The word “amateur” is problematic for a start. A quick Google search throws up the following definitions:

Non-specialist, layperson, dilettante, unskillful, a hobbyist, a dabbler, inexpert, incompetent, talentless, ham-handed, unqualified……

The word “amateurish” has even worse connotations, suggesting cack-handedness and ineptitude.

To describe oneself as an “amateur pianist” is almost derogatory, calling to mind the image of someone fumbling through some Chopin on an out of tune upright piano.

But look more closely at the etymology of the word “amateur” and a quite different image is revealed. “Amateur” comes from the French word meaning “one who loves” and prior to the 1780s, when the word developed its more negative associations, it meant “one who cultivates and participates (in something) but does not pursue it professionally or with an eye to gain” [i.e. does not get paid for it]

My primary contact with other adult amateur pianists is via the London Piano Meetup Group, which I co-founded in 2013, partly because I was keen to meet other pianists like me and because being a pianist can be a lonely activity. The members of this group – to a man and woman – display the most positive trait of amateurism: they love the piano, many with a passion bordering on obsession (myself included). They love playing the piano, talking about playing the piano, getting together at our Meetups to share the experience of playing the piano (repertoire, lessons, performing), going on piano courses to meet other lovers of the piano, and hearing others (professional and amateur) playing the piano in concert.

It is this love which drives members to practise, to take lessons, and to strive to improve their playing, even if they have to snatch precious moments out of their busy lives to find time to spend at the piano. Because we don’t have to earn a living by our piano playing (though a number of members of the piano group are piano or music teachers, so can be defined as “music professionals” as opposed to “professional musicians” – again, myself included), we can gain enormous pleasure from playing the piano, yet we are under no obligation to practise if we don’t want to.

In fact, all the amateur pianists I know practise regularly and happily. We appreciate the benefits of practising and many of us cultivate good habits to ensure we practise deliberately, productively and thoughtfully, no matter how much or how little time we have. We have developed our own methods for achieving personal goals in our music making, from preparing pieces to perform successfully at one of our Meetup events to putting together a programme of advanced repertoire for a performance Diploma, or performing in charity concerts (as I do). Many of us draw inspiration and guidance from the practise habits of professional musicians, but we also appreciate that setting unachievable goals can be counter-productive and leads to dissatisfaction and lack of motivation.

Pianists at play – on a course for adult amateur pianists at La Balie. France


When we are doing something we love, whether playing the piano, tennis, watercolour painting or mountain-biking (my husband’s chosen passionate pursuit), we form an MEA – a Minimal Enjoyable Action – a habit which is so easy and enjoyable we do it almost intuitively and, more importantly, consistently, because we love doing it. Through regular engagement with our personal MEA, we increase our commitment to the task, and by rewarding the brain with small successes (which causes the brain to release dopamine, a neurotransmitter associated with feelings of pleasure which enables us not only to see rewards, but to take action to move towards them), we create a virtuous circle that can actually build greater willpower to stick to the task. (In a way, this is related to the concept of Marginal Gain Learning, a training technique used by top athletes). Once the MEA becomes a habit, it leads to more advanced behaviours – longer, more involved practising, attempting more complex repertoire, for example. Some of us reach a plateau where we are happy in the “good enough” stage; others wish to strive further, to achieve something touching expert status by engaging in deliberate, self-regulated practise with focused goals, self-evaluation, often together with critical feedback from teachers, mentors, friends and colleagues. We know we may not touch the pros, may never perform at Wigmore or Carnegie Hall, but we gain much pleasure from the process of being the lifelong student.

So why should we learn from amateurs? Because amateurs are consistent practitioners of a healthy pursuit, practising something they enjoy which brings enormous pleasure and personal satisfaction.

Further reading

A Passionate Pursuit

More than hobbyists: the world of the amateur pianist

To coincide with the release of his debut CD of piano music, acclaimed impressionist, comic and actor Alistair McGowan shares his passion for the piano and reveals how he prepared for his recording.

What are you first memories of the piano?

My mother had and still has a very good Chappell upright – ‘from Corporation St in Birmingham’. She was always playing the piano when I was young. She was the accompanist at the Evesham Amateur Operatic and Dramatic Society for years and was always playing and practising the score for the latest Rodgers and Hammerstein or Gilbert and Sullivan show they did. She also played a few classical pieces which I would often ask her to play to send me to sleep. She was a fabulous sight-reader and could play almost anything. It breaks my heart that she no longer plays.

My older sister, Kay, learnt to Grade Eight and so was constantly practising. My father and I would listen to her pieces again and again and again as we tried to watch ‘Star Soccer’ in the room next door. It’s the only way to practise but it gave me a very good idea of how hard it is to live with or next door to a pianist. She didn’t touch the piano after her final exam. She is making noises about playing again after all the interest I have shown and I really hope she does go back to it. She was very good!

Did you have piano lessons as a child?

I did two years and passed two grades but stopped when I was 9. I regretted it for the rest of my life and finally took up the piano again for a couple of years in my 30s and then TV stardom got in the way. So, I have only really, finally, finally thrown myself at it again over the last 2-3 years and particularly since being involved in my debut recording project.

What kind of repertoire do you enjoy playing, and listening to? 

Nothing too ‘bangy’ and anything marked ‘lento’! Over the years, I’ve also loved piano music that I can work to and I think the album reflects that. The music is reflective and romantic, spanning everything from Bach and Field via Satie to Philip Glass. I hope it’s good to revise to, to work to, eat to and even to fall asleep to, too.

How do you make the time to practise? 

At first, it was a struggle fitting things in around other work and I had to cut a lot of things out of my life, but I began to love playing and improving so much that I soon didn’t miss reading about and watching endless football or even playing tennis. I watched less television in general with no regret and played less snooker too. I changed a few habits but have simply acquired new ones and made a lot of new friends through it too. Through it all, I kept on swimming as a wonderful release for mind and body!

Do you enjoy practising? 

I have to force myself to do scales and arpeggios and Hanon but otherwise, yes. I had some very good advice from lots of people. Fellow comic, Rainer Hersch, suggested putting a stop-watch by the music and making sure that every fifteen minutes you change your practise to a different piece or a different exercise to keep the brain active and receptive. I tried to do that. James Lisney [concert pianist and teacher at piano summer schools] is very keen on pianists getting up and stretching regularly, which is also very important (though not a good idea in a concert!). I am a little troubled with a sore right thigh and foot from all the pedalling though.

Have you participated in any masterclasses or piano courses? 

The person who got me playing again, the fabulous accompanist Lucy Colquhoun, suggested that I attend a weekend course with Paul Roberts in Sussex. I learnt a huge amount there in three days and realised above all how much I had to learn and that the learning is never done. Paul was just inspirational and in 2015 I went on his week-long piano course in France and then attended two courses in subsequent years at the delightful La Balie (in south-west France).

I also returned to Paul in 2016 for another woodsmoke-filled weekend. As well as learning from such inspirational players and teachers (James and Paul), who both have such a huge knowledge of piano history, it was great to meet other amateur pianists who shared my passion – most of whom were way ahead of where I was – all willing to play and share and talk about this fantastic repertoire that has been left to us by these amazing composers. I also performed in a number of practise concerts in Barnes with my teacher, Anthony Hewitt, and watching Anthony play live was a masterclass in itself.

What have you gained/learnt from this experience? 

Well, obviously, how much I enjoy playing the piano, but also the importance of goals and patience. I’ve gained even more respect for professional pianists and feel I’ve enriched my life and my soul. I have been a little surprised by how much I have enjoyed regularly turning my back on the modern world.

As an adult amateur pianist, what are the special challenges of preparing for a performance? 

Believing that the sound you are about to make is worth listening to. Believing that you know the music and not letting the occasion distract you from listening to the sound you are making with every note. I had moments of being very focused (reading ‘The Inner Game of Tennis’ was a big help), but often heard myself saying ‘What on earth do you think you’re doing?” If you can keep that voice out of your head, you will generally be fine!

How did you prepare the pieces featured on your new disc? 

I worked very hard, bringing each of them to the boil in turn. I did a lot of note-bashing on the electric piano at home but there is no substitute for a real piano for the touch. I was lucky enough to have some sessions in St Mary’s Church in Barnes on their excellent Steinway, which got me used to the touch and sound of the best big pianos. I also went to listen to a good few pianists in concert and learnt a lot from hearing James Lisney, Lucy Parham, Viv McLean and, of course, Anthony Hewitt.

I also listened to and registered recordings of the pieces I was playing – to get to know them intimately – on trains and even, especially, peacefully, in bed.

And how did you find the experience of recording the music?

It was like a lesson, an exam, a recital and the greatest pleasure all at the same time – immensely draining and yet utterly thrilling to hear the music I had learnt and loved coming out of the best pianos in the world !

It was also terrifying knowing that this was the one chance to get each piece recorded. I read a wonderful book called ‘Piano Notes’ by Charles Rosen which has a very helpful chapter on the challenge of recording and refers especially to the need to not to worry about mistakes. They can be covered. My teacher/mentor, Anthony Hewitt, was wonderfully helpful at and about the recordings. My producer, Chris Hazel, was unbelievably supportive, helpful and strict!

I had to pinch myself after each recording. I couldn’t believe what I was being allowed to do. I had been to drama school at The Guildhall and worked at The Barbican Centre tearing tickets as a student. So, to be recording in St Giles Cripplegate, just opposite these two important buildings in my life, felt like some sort of karma. And after the eight-hour sessions, I felt like some sort of korma!

What was your motivation for making the disc?

It was principally the challenge of seeing if I could get to a level somewhere near good enough that people would want to listen to the music I was playing. We all need an incentive and knowing that my playing was potentially going to heard by thousands was a real carrot.

I also hope that the album encourages people to play by showing them the beauty of some well-known and some much lesser-known pieces. I have often felt that virtuoso playing (impressive as it is) can just as easily put people off playing as it can inspire them. I know I heard myself say for many years, “Well, I could never play Rachmaninov’s Third Piano Concerto like that so, what’s the point…?” I really, above all, hope that people who hear the album will say, “I think I could play that” and do so

What advice would you give to other adults who are considering taking up the piano or resuming piano lessons? 

Do it! It has brought me so much pleasure. There are moments of frustration, of course, but, with patience and a lot of hard work, it is just wonderful to be able to play pieces that you’ve loved listening to all your life. I think learning how to learn is as important as learning how to play ; it’s important to get the most from your playing time. Setting goals is also important. Perhaps organise small recitals at home, before friends, in order to give yourself a deadline.

If you could play one piece, what would it be? 

Ah! That changes all the time as I hear more and more piano music that I want to play and as I am improving. Currently, I am in love with Madeleine Dring’s ‘Blue Air’ but find even the opening few bars very challenging. It’s a wonderful evocation of ‘cool’ and sounds like a theme from any 1960s Michael Caine film. It’s unlike anything else I play. I also have an eye on Debussy’s ‘Ballade’ – but that’s a good few years away, I fear !

‘Alistair McGowan – The Piano Album’ is available now on the Sony Classical label and is the impressionist’s debut album


Further reading

Review of Alistair McGowan – The Piano Album

Why go on a piano course?

Courses for pianists



Please do not reproduce this article without prior permission from the author of this blog

©Frances Wilson 2017

Best known for his BAFTA-winning comedy show, ‘Alistair McGowan’s Big Impression’, in which he delighted audiences nationwide with pinpoint-accurate impersonations of celebrities such as David Beckham, Gary Lineker and Jonathan Ross, Alistair McGowan is now preparing for his most demanding role of all – that of pianist – as he releases an album of solo piano works for Sony Classical.

This debut album features McGowan performing several short classical pieces, all chosen and learned by the actor/impressionist (who could only ever play two pieces) but who then practised for up to six hours a day over a nine month period in his attempt to finally conquer this beautiful instrument, despite already being in his early fifties. Says McGowan: “By taking on the idea of making an album, I hope to encourage people of any age to play the piano, but perhaps particularly those at an age where it’s easy to think that it’s all too late”.

McGowan had started out playing the piano as a boy, but gave it up after only two years in favour of tennis and football. He went on to train as an actor at the Guildhall School of Music and Drama and worked for many years on television, on radio and in the theatre (being nominated for an Olivier Award in 2006), as well as successfully performing around the country for almost thirty years as a stand-up comic.

Having always yearned for the piano, in 2016, McGowan devised the one-man stage show, ‘Erik Satie’s-faction’, based on the French composer’s comedic writings, letters and music, for which he had to learn to play some short piano pieces by Satie and Debussy as an integral part of the show – the first time he had ever played in public. Emboldened by this well-received first public experience, it was not long before he was enthusiastically identifying and learning other short pieces which he felt that he – and others with similarly limited playing experience – could realistically manage.

McGowan notes: “I have become so passionate about the piano over the past three years. It has really taken me over and I have made the time to practise (time I never thought I had) with a few simple lifestyle changes. This album contains a wealth of beautiful music that I think anyone can tackle, given time, passion and determination. Learning to play the piano has been an incredible challenge – often frustrating – but, ultimately, hugely enjoyable and emotional. It’s so satisfying when you realise that you are improving daily. I hope this encourages everyone who harbours a secret ambition take up music -it really is never too late!

McGowan was mentored by concert pianist and ‘Olympianist’ Anthony Hewitt and also attended the exclusive (and very expensive) piano summer courses at La Balie in south-west France. He practised on friends’ pianos and used ice packs to relieve tension and pain in his hands and legs, the result of his long practise sessions.

His solo piano album features music from composers as diverse as Bach, Chopin, Glass, Grieg, Liszt and Satie, together with vocals by Alistair McGowan’s singer wife, Charlie.

Alistair McGowan: The Piano Album is released on 29 September on the Sony Classical label


I never really intended to become a pianist and piano teacher – nor a blogger on classical music and pianism, and a concert reviewer. Sure, I was mad keen on the piano as a child and teenager, completing all my grade exams and enjoying consistent rather than startling success in them. I harboured some desire to go to music college rather than university, but an offhand comment by my music teacher at school, suggesting I was not “good enough” to audition for conservatoire (a comment which still has the power to sting, some 35 years on), set me on a different course at 18: I studied Anglo-Saxon at university and had a career in art and academic publishing for 10 years post-university, until I stopped full-time work to have my son.

But the piano had always been there, in the background, a rather frustrating itch which could not be scratched because my father sold my piano when I left home and I had no instrument on which to practise. I occasionally played a friend’s grand piano but lack of practise led to frustration, and it was not until my mother bought me a half-decent digital piano that my passion for the instrument was rekindled. It was gratifying to discover that music I’d learnt in my teens was still “in the fingers”, if rather rusty, and I began to enjoy the routine of practising once again. Around the same time, I started going to concerts regularly again, something I had enjoyed as a child with my parents, and into my teens, reacquainting myself with repertoire I knew and loved and making new discoveries. A chance conversation with a friend in the school playground while waiting to collect our children led me into piano teaching – that was 10 years ago…..

Alongside this, I felt it was important to improve my own playing, and in 2008 I returned to regular lessons with a concert pianist and professor of piano at one of London’s leading conservatoires. It was daunting initially: I had not been taught for nearly a quarter of a century, and lots of bad habits from my teens and lack of technique were quickly exposed, but the teacher was sympathetic and supportive, and it was satisfying to see my playing improve rapidly under her guidance. Because I had not had a formal musical training at 18, I always (and still do) felt I was trying to catch up with those who’d had that education, and this was a major motivation for taking an external performance diploma, in addition to the desire to continually improve my playing by setting myself the personal challenge of preparing for the diploma. And so in December 2011, some 28 years after I last stepped into a piano exam room, I took my Associate diploma in piano performance. The Licentiate diploma followed in 2013. Both experiences were entirely positive (in complete contrast to some rather uncomfortable exam experiences as a child): I enjoyed the challenge of learning and finessing the repertoire, researching and writing programme notes, and learning how to be a performer (for one is assessed not just on one’s playing but also on stagecraft and presentation, just as in a formal professional concert), and above all, I enjoyed studying with a teacher again and the self-imposed routine of regular practising. Since 2013, I perform quite regularly, in solo concerts and in joint recitals with friends and colleagues. Learning to manage and understand performance anxiety has been a big part of my development as a pianist, and an aspect I know many others struggle with, which is why I organise workshops for adult amateur pianists on coping with anxiety and developing good stage craft.

I think the rather “accidental” path into my current role, in addition to the long period of absence from the piano, has given me the freedom and confidence to fully indulge my passion for the piano and its literature. Had I gone to music college and had to make a career from music as a young woman, I may have lost that spark, that passion. I’ve met a number of professional musicians who have expressed resentment at the heavy demands of their career, which can rob them of their love of the piano and its literature. (Admittedly, I am fortunate in that I do not have to make my main living from music: I have what is fashionably called a “portfolio career” and do several other admin and writing jobs in addition to my teaching.) Returning to the piano in my late 30s, and completing my diplomas in my mid-40s, has brought a maturity to my approach – and in the years when I wasn’t playing I was still listening to music and going to concerts, soaking up all those notes and forming my own opinions about the music I was hearing (which in turn was given a further outlet when I started reviewing concerts for

As an adult pianist, one has the freedom to explore whatever repertoire one pleases, without a teacher bossily insisting on Czerny exercises (been there, done that) or having to play repertoire which one hates (and I suspect many of us can remember, with a shudder, the terrible/dull music we were made to learn as children). We take responsibility for our practising without recourse to others. As we mature we get to know what repertoire suits us (I was very touched at a recent London Piano Meetup Group event when a friend commented on how much a certain piece “suited” me), what we are physically, and mentally, capable of tackling, and as pianists we are incredibly spoilt by the vastness of the piano’s repertoire: there really is something for everyone! While some of us dream of playing Rachmaninov’s Third Piano Concerto to a full house at Carnegie Hall, we gain a great deal of pleasure and satisfaction from working on pieces and presenting them to others at piano clubs, meetup groups, and on courses (where one can meet other piano fanatics and where lasting friendships are forged). We enjoy the challenge of learning a Beethoven sonata, a handful of Bach’s Preludes and Fugues, or a brace of Chopin Etudes, and the sense of achievement when we gain “ownership” of our music, making it our own.

“It’s an overriding passion, not just for the music [but] for the challenge……And the challenge is constant: there’s always a harder piece, you can always take it to the next level, you’re never finished. But there’s also the fact that the piano is your friend; it’s always there. That gathers more significance as you get older: what you can express through it, in a personal language, becomes incredibly important.”

Lucy Parham, concert pianist

Those of us who play at a semi-professional level, advanced pianists, intermediate players, beginners, returners, “Sunday pianists” all share this consuming passion. Eavesdrop on any conversation between members of a piano group and this love is more than evident as members discuss the myriad aspects of the craft of piano: practising, repertoire, exams, concerts, performance anxiety, favourite professional performers and recordings. Because of this, professionals are often quite envious of the freedom amateur pianists have to indulge their passion, to play whatever repertoire they choose and to play purely for pleasure.

Music has known therapeutic benefits and the piano is no exception. Time spent with the instrument can be relaxing, invigorating, inspiring and comforting. A good practise session can feel as beneficial as a run – and we release the same “happy hormones”, endorphins, when we practise, as we do when we exercise. If I haven’t touched the piano for several days, I get tetchy and frustrated, and it’s the first thing I go to when I return home from a holiday. In fact, I don’t know what I’d do without it now, and I am lucky enough to possess a rather fine antique Bechstein grand piano, known affectionately as “Bechy”, who has pride of place in my living room and is treated by the rest of my family like a rather large pet.

If you are something of an “accidental pianist”, or someone who has returned to, or taken up the piano later in life, I would love to hear from you to explore this fascinating subject in more detail. Please feel free to contact me to tell me your story, or complete my Piano Notes – adult pianist interview (word document)



A regular commentator on this blog has asked me to write more on amateur pianism. Here are some honest and occasionally light-hearted thoughts on the joys and frustrations of being an amateur pianist.

Alan Rusbridger’s book ‘Play It Again’ (published in 2013) shone a delightful and inspirational light on the world of amateur pianism, but people have been playing the piano at home and with friends for almost as long as keyboard instruments have been in existence. In the nineteenth century, when advances in design and production significantly reduced the cost of manufacturing pianos, an upright piano in the parlour was the norm for family entertainment, much as the PlayStation or smart TV is today (sadly).


Probably the single most positive aspect of being an amateur pianist is not having to make a living from playing the instrument. Recently, I have begun to paid for solo performances and accompanying, which puts me in the hallowed category of “professional pianist”, but my main income comes from piano teaching, and I wouldn’t have it any different, to be honest. Not having to earn a living from playing the piano means one can truly indulge one’s passion for it. (Indeed, the word “amateur”comes from the Old French meaning “lover of” from the Latin amator.) All the amateur pianists I meet and know play the piano because they love it and care passionately about it.

That is not to say that professionals don’t love the piano too – of course they do, otherwise they wouldn’t do it, but a number of concert pianists whom I’ve interviewed for the Meet the Artist series have expressed a certain frustration at the demands of the profession – producing programmes to order, the travelling, the expectations of audiences, promoters, agents etc, which can obscure the love for the piano and its literature. Because of this, professionals are often quite envious of the freedom amateur pianists have to indulge their passion, to play whatever repertoire they choose and to play purely for pleasure.

Talking of which, the piano has a vast repertoire, more than enough to suits all tastes, a good chunk of which is copyright-free and easily available online from sites such as IMSLP and Pianostreet. One could spend a lifetime learning and playing only the music of, say, J S Bach or Fryderyk Chopin and only scratch the tiniest surface of the piano repertoire. And in addition to solo works, there is music for three, four, six hands to enjoy with other pianists, not to mention being called upon to accompany other instrumentalists and singers…. Really, we are spoilt rotten!


Being a pianist can be a lonely occupation/hobby (though I like the solitary nature of the instrument) and working alone on that knotty section of Liszt or Hanon exercises can at times be frustrating and demoralising. However, it needn’t be lonely: in recent years the popularity of piano meetup groups and piano clubs, or even informal get togethers at one another’s houses, has created a wonderful community of like-minded people who meet regularly to play for one another, share repertoire and socialise. I co-founded the London Piano Meetup Group and I still attend the group’s meetings when I can. Our drinks and lunches after our informal performance platforms are always noisy with conversations about the music we are working on, concerts we have enjoyed and discovering new repertoire.

Some adult amateur pianists are shy about playing to others for fear of making mistakes and looking foolish, or because of negative experiences in childhood. Piano Meetups and Clubs are a good way of overcoming these anxieties – you quickly discover that most people feel the same and playing to a friendly non-judgmental group of people is an excellent way of overcoming those performance nerves.

Adult pianists may also find it difficult to find the right teacher to support and encourage them. Some adults like to be pushed by a teacher, others need more gentle handling. Many come to lessons with a lot of “baggage” and anxieties, often a hangover from childhood music lessons, and need encouragement and support. Some have rather over-ambitious ideas about their capabilities (I had an adult student who informed me at his first lesson that he was going to play the Rach Three one day!) and want to play repertoire which is too challenging. In such instances, I recommend selecting repertoire that is well within one’s “comfort zone” to give one confidence, while gradually introducing more complex repertoire to extend and challenge one’s abilities, both technical and musical. And no repertoire should ever be considered “off limits” to the amateur pianist: the music was written to be played!

However, the music still has to be learnt and one of the greatest frustrations expressed by amateur pianists is finding the time to practise, especially if you have a busy day job and/or family commitments. We all know that “practise makes perfect”, but what is more important is that practise makes permanent and regular practise means notes are learnt, finessed and made secure. My personal mantra is “little and often” (a shoulder injury means I cannot practise for more than about 45 minutes in one sitting without a break) and I have become adept at sneaking practise sessions in to a particularly busy day or if I am going to be away from the piano for a period of time. It’s amazing what just 10 minutes focused practising can achieve – but you need to know what needs to be done (a good teacher will offer guidance on this and give one tools to practise efficiently and effectively). If you are serious about your piano practise, try and set aside some time every day for it. Alan Rusbridger used to practise before he went to work, shoe-horning a brief 20 minutes on the Chopin G minor Ballade into his busy day. And if you are very serious about your practising, be ruthless about setting the time aside, turn off your phone, and simply shut yourself away with the piano.

Alan Rusbridger (photo: The Guardian)

If you don’t have the benefit of regular lessons with a teacher, there are plenty of online resources in the form of blogs, YouTube tutorials, and forums, and there are also courses for adult amateur pianists where you can study with international concert pianists and acclaimed teachers or simply enjoy being amongst like-minded people. Such courses are a great way to meet other pianists and observing others being taught in the masterclass or group workshop setting can be really useful. You can even have a rather special “piano holiday” and stay in luxury accommodation with gourmet food and beautiful facilities (though “mandals” seem to be mandatory for both male participants!). Many of my pianist friends return to the same courses year after year and firm friendships have been forged.

A rehearsal room at Peregrine’s Pianos, London

Not everyone has the luxury of an acoustic piano (upright or grand) but there are some excellent digital pianos on the market now. There are also street pianos at railway stations and airports, and if you crave the sleek elegance of a grand piano, there are rehearsal rooms available to hire for a modest fee and many churches and community centres have grand pianos which are just begging to be played. Seated at that glorious, gleaming expanse of mahogany, you can dream of playing to a full house at the Wigmore or Carnegie Hall.

Above all, love your piano and its wonderful music


If there are any specific aspects of amateur pianism which you would like me to cover, please leave a comment below or contact me

Frances Wilson, author of this blog, is experienced in teaching adult pianists and also runs performance workshops for adult amateur pianists.


Further reading

More than hobbyists: the world of amateur pianism

The Adult Amateur – article on Practising the Piano blog

Street Pianos


Rehearsal rooms in central London

Peregrine’s Pianos

1901 Arts Club

Markson Pianos

Steinway Hall

Bluthner London