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Guest post by Ingrid on the experience of studying with Dr Michael Low

Like many musicians, my journey started thanks to a fabulous piece I heard one day (and for sure so many more, but it has been a while so I can’t quite tell) that moved my heart and soul so deeply that I started daydreaming about it and about being able to do that same thing with the piano. I was maybe 10 or 13, but it took a while until I finally got to convince my parents to allow me to start learning the piano.

This led me to begin music lessons at the National Conservatoire here in Guatemala, and, as all music schools based on tradition, the curriculum included not only piano per se, but also Solfege, History, Tonal Harmony, and other subjects that are intended to nurture (and they actually do) your musical understanding and therefore your musical interpretation. A couple of years later I decided to pursue a music degree at university, and I obtained a Teacher’s Diploma in Music and a bachelor’s degree in music composition.

All of this gave me the tools to finally “play the piano”, which we normally say when we hear someone “play” that instrument. But little did I know that there is a huge dimension behind the mere study of any artistic discipline, that is sometimes overlooked and underestimated – that is, the Human Dimension, with all its intricacies and complexities.  

And why is it overlooked? Well, maybe because we usually assume that as artists (musicians, painters, writers…) that dimension is an obvious part of us, and even if that is true, no one ever prepares us for the setbacks and negative experiences that are inevitably part of the journey. As musicians we may suffer from stage fright, we may face abusive/authoritarian teachers, we may be immersed in a toxic competitive environment, we may be the target of intended mean critics, and none of that has to do with the subjects that we learn in during our studies, and that prepare us to become professional musicians – but it has a lot to do with who we are as human beings and how we practice our art.

These setbacks may lead us to reconsider our career path and that maybe we need a change. Some of us may decide to make a radical change, some of us may decide to make a small change. But all of this raises the question of how we can thrive when facing such difficult challenges.

I started searching for answers and began to read blogs where other musicians shared their own experiences in similar situations; blogs where teachers shared their thoughts on how to build a healthy technique and learning environment; blogs where authors shared their thoughts on creativity and how to foster it in your own practice; blogs that shared research based tips to better manage performance anxiety; and I found great resources in authors like Noa Kageyama, Forrest Kinney, William Westney, Graham Fitch, Penelope Roskell, Frances Wilson (The Cross-Eyed Pianist), Rhonda Rizzo, Zsolt Bognár and Michael Low.

In one of those blogs, I was particularly struck by an article that Dr. Michael Low shared where he talked about his own journey with the piano, performance anxiety and the tradition in music education. It really resonated with me, so I started following his work closely.

At some point we also started sharing our musical impressions through social media and video chat. I shared with him that I was re-studying the Brahms’ Intermezzo in A, op. 118 no. 2, and sent him a recording I made of the piece.  I remember he gave me some observations about it and his enthusiasm to work on it musically. I am not exaggerating when I say that this experience has been life changing.

I have to say I’d never had the chance to really discover and experiment with that (or any other) piece, nor I have had the chance to “think outside the box” musically speaking, because you are normally taught that there are “rules” that you must respect as interpreter, and sometimes even “fear”. There is nothing wrong with rules, but as an artist you can always trust your own criteria to use them; however, only an open-minded teacher and artist can help you discover that, and one of them is Dr. Michael Low.

It amazes me how spontaneously Dr. Low fosters that safe environment for experimentation, and how through funny examples and direct questions he challenges your own beliefs: be it about the piece or the composer or your own playing, always in a very kind and respectful manner, going beyond the surface and helping you to start thinking more as an artist than just a “piano player”. And the best part is that there are plenty of Eureka! moments, when you discover all the possibilities you have in your own hands, under his guidance.

And even if I have been in piano lessons before, there has always been a rush and a pressure to play a particular piece “perfectly”, not giving any space to really discover it (besides the obvious aspects of technique and analysis that are intrinsic to the music study), and to find one’s own voice as a musician and, most importantly, as artist. When there is too much noise outside, we get distracted from what we must look for on the inside.

After working all this time with Dr. Low and sharing interesting discussions about music, while also applying and following all of his very insightful advice in my own practice (both as teacher and as pianist), I have come to various conclusions that make me think about how we can thrive.

  • There is not just one answer, nor a right or wrong one, but there are some general thoughts that are worth always keeping in mind:
  • Music is a lifelong learning career/experience where one of our biggest enemies is the obsession with perfection
  • Kindness, in every aspect: with ourselves and with others, is a life changer as it creates wonders
  • Patience with our own artistic growth, as no path is the same as other and there is no one-size-fits-all solution for such big endeavor

As Vincent van Gogh wrote to his brother Théo, in a letter from May 1882, with relation to the meaning of being an artist:

“(…) Those words naturally imply always seeking without ever fully finding. It’s the exact opposite of saying ‘I know it already; I’ve already found it’. To the best of my knowledge, those words mean ‘I seek, I pursue, my heart is in it’.” 

This article is translated from the original Spanish, which you can read here:

Lesson with Dr Michael Low (Spanish version)Download

Dr Michael Low is a pianist and teacher based in South Africa. If this article has piqued your interest in his work, why not come along to a masterclass at Coach House Pianos London showroom on Saturday 1 June to observe Dr Low teaching advanced amateur pianists in a variety of repertoire. The event is hosted by Frances Wilson AKA The Cross-Eyed Pianist.

Further details/tickets here

Coach House Pianos London Showroom

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Guest post by Jessica Yeartie

To our benefit, there are usually several paths one can choose to arrive at the same end result. Doing so in the traditional way or manner, and the unconventional way. Whichever decision you make is incumbent on the most comfortable way for you in accomplishing something.

To me, I am always seeking the easiest and most convenient way to do something, however I would not perceive myself as lazy. I am just conservative and selective with how I spend my energy. The only thing I exercise to the brink of exhaustion on a daily basis is my brain and thought processes. I can usually just take a nap to recuperate when necessary.

When I had decided I wanted to learn the piano, I knew seeking out a professional teacher to personally instruct me was out of the question, financially and time-wise. My mentors and research consisted of pianists who posted helpful videos on YouTube for beginners and affordable piano books and exercises I could purchase from Amazon.

Due to my circumstances, these choices suited my situation best and I made the best with what I had at my disposal. If aspiring pianists have the funds to hire a personal instructor, I would highly encourage you to do so.

Many tactics I did not learn until much later would have been made aware to me had I had someone to overlook my practice sessions and provide instant feedback I could apply on my own time. Though I think I have gotten on fine enough considering the circumstances.

Like everything in this universe, there are pros and cons when we make these choices. When we choose one thing over the other, we are knowingly sacrificing what could have been had we chosen differently. Sometimes the fear of ¨what could have been¨ can cripple us so much that we just do not make a choice at all.

Some have the opportunity to experience both but I cannot say if that is the default when it comes to decision-making. Although, I can say that hard work can certainly aid with filling in the gaps where personal instruction could have been well-utilized.

Pros

Learning anything outside our immediate area of expertise is a struggle, to say the least. Fortunately the individuals who would consider themselves to be of a more independent nature could definitely benefit from the self-taught avenue.

Adhering to Your Own Schedule

Going solo means you do not have to refer to someone else for when a task should be completed. Finding ways to manoeuvre around each other´s, sometimes very busy, schedules can be time-consuming and hard to negotiate.

Also, life is still going on around us. Many of us have outside responsibilities that come first before giving precious time to what most would consider a hobby. Things like family, relationships, work, household duties, etc. are more than enough to keep the average citizen occupied for the majority of their week.

Of course we definitely need sleep as well, especially me. We are not machines that only need to be recharged when we are feeling fatigued at the end of a long, busy day. Being self-taught can eliminate some of these issues.

Photo by Juan Pablo Serrano Arenas on Pexels.com

No Time Constraints

Typically, teachers expect you to have practiced a certain amount during the week and present that to them when you see them next. Sometimes, the pressure of performing and getting in the required time for a full practice session can be tiresome and anxiety-inducing.

While I immensely enjoyed taking a piano close as a Junior in high school, I hated the weekly tests the teacher would grade us on for the song he selected. I always performed so much worse during the exam than when I was practicing and it frustrated me to no end.

Also, my school did not have enough pianos for each student to have their own so our allotted time slot was much shorter time to accommodate our larger than average classrooms. Now that I practice in the comfort of my own home, I can take as much time as I need to make sure I fully understand a concept.

Working at Your Own Pace

Slow-learners and fast-learners are the bane of the other´s existence. We all have that one subject or skill we excel in and get mildly irritated when others are not. At least that was the case for me in the past. I was even more irritated when I did not understand something and everyone else did, leaving me behind while I struggled.

Some concepts take longer to comprehend than others so rushing them can exacerbate their feelings of inadequacy, leading them to eventually quitting.

On the contrary, moving too slowly can lead to boredom. It is hard for a professional and newbie to come to terms with their individual skill levels and find a way to move forward that satisfies both of their needs.

Working alone means you can work as fast or slow as you need. You can speed up when something comes easier to you or take additional time for more difficult roadblocks without feeling like you are infringing on someone else´s time while still moving forward.

Cons

On the other side, there are some hiccups one should take into consideration before taking the plunge. While there is a considerable amount of freedom that comes with being self-taught, there are also some factors one should think about. Determine whether or not these possible setbacks are something you are willing to take on during your progression.

Lack of Support

One thing that makes starting a new hobby so exciting is meeting new people who have the same passion as you. This can be said about starting a new sport, joining a club at school, or attending weekly community gatherings for a specific project.

What all of these activities have in common is a group of individuals that are physically present. You have others you can converse with as the two of you are working while establishing a relationship.

In the beginning stages, learning an instrument can be kind of isolating if you are teaching yourself. Having a teacher present can remind you that they are there to help and support you when you eventually hit a wall. We can sometimes lose motivation when we have no one holding us accountable.

Lack of Foundation

If you are anything like me, you tend to want to skip the ¨boring¨ stuff and tackle the more exciting lessons. The problem with this is you hit a plateau much quicker due to a lack of knowledge in basic strategies you should have focused on to begin with.

We all have songs in our heads we really want to learn so we convince ourselves, prematurely, that we can learn it at our current level only to receive a slap in the face when you realize you cannot even play both hands at the same time without being out of time.

It takes a responsible person to stave off instant gratification and spend time on the more mundane, but important, aspects that are the very foundation of what they can accomplish in the future.

Little to No Feedback

Unless you asked someone to watch over you who is well-versed in piano and the proper form, you do not have much immediate feedback so you would have to refer to second-hand resources for clarity.

Playing in front of someone can be extremely nerve-wrecking but it is worth it to learn in the early stages which behaviours need to be corrected so they do not turn into bad habits that are nearly impossible to break further down the line.

Don´t shoot yourself in the foot by relying on your intuition in unfamiliar territory. There are lots of resources and videos out there that will inform you on better ways to play arpeggios or the perfect posture to maintain when practicing.

In Conclusion

We are all different. Some thrive in solitude while others, in the company of others. I do not regret that I chose to be self-taught however I definitely believe I could have benefited greatly from having a stable authority present to help me when I struggled.

Ideally, I think the best situation would be to experience both. Have a teacher as a novice player then gradually become more independent as you improve. That is just my opinion, though.

Whatever decision you choose is ultimately up to you unless you have parents who insist on paying for your lessons. I hope whatever path you choose leads you to victory.

Keep playing!

Jessica Yeartie is a US-based writer and blogger.

Find out more

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Guest post by Lizzie de Lacey

The covid-19 pandemic has forced many of us to reinvent ourselves in one way or another. For some this has involved having to find a completely new way to earn a living; for others it has meant searching for ways to keep ourselves busy and, importantly, to keep our spirits up. It is therefore perhaps unsurprising there has been a huge increase in the number of people buying puppies…and pianos. As someone with both pup and piano, I can’t advise you on which might give you more pleasure, but I can offer some advice about learning the piano, although I have to declare a vested interest.

At this point I need to thank Fran The Cross-Eyed Pianist for very kindly asking me if I would like to write a guest blog for her website. So here I am, putting my head over the parapet to talk about what I have been cooking up during lockdown, while others have been getting to grips with sourdough. In fact my ‘piano method’ has been simmering for much longer than that. For many years, I have felt uncomfortable with the glaring gaps in the way we approach piano playing and teaching. As a result of those gaps, most of us are reliant on the printed page for every single note of music that we play. Playing by ear and improvisation are a completely alien concept.

For myself, I never really believed that I could call myself a musician if I could not make music without a printed sheet in front of me. The fact that I could not was a source of shame and embarrassment. Then one day I decided to teach myself. Working on the basis that the best way to learn a subject is to teach it, I found a group of willing friends and set about teaching improvisation. What resulted from those weekly sessions taught us, I believe, something even more important than how to add harmony to melody; it gave us a much greater understanding of how music ‘works’.

As a piano teacher during lockdown, I began to teach (with some trepidation) using video exchanges on WhatsApp. This approach was more successful and rewarding than I had anticipated, and brought me to some interesting conclusions about teaching in general. For my own part, the need to produce video lessons that were absolutely clear and concise, gave me new motivation, and stimulated fresh insights into my own teaching. As far as my pupils were concerned, learning from videos forced them, in their own space and time, to figure things out for themselves. Having to prepare videos to send back to me also seemed to give my pupils a new motivation to practice, until they were happy watching their own performance. Gradually it began to dawn on me that now was the perfect time to finally release my own piano ‘method’, which has been steadily germinating for longer than I care to admit. Despite lengthy dialogues with music publishers over the last three decades, my ‘book’ was ultimately turned down for being too ‘gimmicky’, too ‘different’, and, on one occasion, for teaching only pieces in C major for the whole of the first chapter.

Being different was always my intention. It has never surprised me that so many people ‘give up’ the piano so quickly (quite apart from the considerable, and often prohibitive, expense of regular lessons). Our obsession with teaching music-reading from the start, and the discouragement of any kind of improvised playing, means that many slow readers ‘fail’ before they have even started. At this uncertain time for musicians (and for classical music itself), it is even more vital for those of us who make and teach music to be flexible, so that we can adapt our style and our teaching in ways which will bring us and our pupils success, or at the very least, joy. For many classical musicians, the reality has always been a life of long working hours and low pay. Of course, there is money in music, as those successful in the popular music industry well know, but few classical musicians ever tap into this other world, even if they are struggling to sustain their careers. The reason? Their highly specialized training frequently has not included improvisation or composition, even at the simplest level. Almost unbelievably, it is still possible to graduate from a top UK music college, without ever having been encouraged to play by ear, or improvise. Yet armed with three or four chords, popular musicians come up with catchy tunes which are whistled and sung the world over, and which make millions, if not for the composer, at least for someone, somewhere along the line.

Learning to play the piano is a lifelong journey, and it should be a journey that we enjoy, every step of the way. In recent years there has been much evidence to tell us that, at all stages of our lives, we learn best when the process is enjoyable and playful. Instead of ‘learning to play’, this course encourages ‘playing to learn’. It is designed to keep the joy of learning and playing alive at every step, introducing colours to enhance the whole experience, and to impart a deeper understanding of what we are doing. Chopsticks to Chopin takes the student right back to the beginning – to Chopsticks, in fact – and then progresses via a very different route. It is easy, fun and creative, and can teach a beginner to play real music with two hands, from day one. It opens the door to improvisation, and encourages playing ‘from the heart’, not merely from the ‘dots’ on a page. The system can, I believe, be an effective alternative way into music for children or adults who face challenges such as dyslexia, dyscalculia, and ADHD, who may previously have tried and ‘failed’. It also has much to offer an experienced player who might be aware that there are important things which have been missed out of their music education.

So how does it work and how is it different?

My aim in this course is to be absolutely systematic and clear so that an adult beginner can teach themselves without difficulty, and without a teacher present. Equally, I would claim that an adult beginner can use the course to teach a child, or an older child a younger sibling, in exactly the way that Chopsticks has been handed down over generations. Chopsticks to Chopin is a ‘bottom-up’ method which starts with harmony, allowing you, perhaps for the first time, to tap into your own creativity. It will introduce you to vitally important concepts which traditional methods so often ignore, and which make playing so much easier and more fun. The use of colour makes learning and memorising pieces much easier and less daunting, so that tackling a new piece of music becomes a joyous and thrilling experience. Working in only one key at a time greatly speeds up the process of learning to hear harmony. Once these keys have been mastered it is easy to apply the system to any other key. Though not specifically designed for children, the system is appealing to all, and can be used from the earliest stages, so that children learn to play with two hands long before they have learned to read music.

One of the biggest challenges for any piano teacher is sourcing the right musical material for their pupils at exactly the right time. Music which is just too hard, or with insufficient appeal, can put a pupil off for life. To encourage playing by ear, however, it is vital to begin with familiar music with very simple harmony. For this reason, Chopsticks to Chopin starts out with well-known children’s music and folk songs. Whilst children’s music may not appeal to all, it does mean that this course is also perfectly suited to primary school teachers who wish to sing and play music in the classroom, and of course to parents and grandparents.

You can find the course at www.patreon.com. As a platform, Patreon has much to recommend it. Subscribers can work at their own pace; they can also ask questions and send feedback, so that anything that is less than crystal clear can be edited and improved. The course is designed to be fully interactive, and feedback from participants will help to shape its trajectory. With the addition of the linked Instagram page, the idea is to create a friendly community where people can learn from the video lessons, and from each other, in a stimulating and enjoyable way.

Chopsticks to Chopin is virtually free to use. Subscribing for one year will cost you less than the price of most single piano lessons. Fifty percent of proceeds will go to support selected music therapy charities, starting with Chiltern Music Therapy. Chiltern Music Therapy is a not-for-profit organisation which brings the joy and healing powers of music to people with diverse medical, psychological and neurological conditions.

Do come and join us. You can subscribe to the course from as little as £3 per month (for beginners). For experienced players, Level 2 costs £5.

REVIEWS

“As an early childhood music specialist, and as a timid pianist myself, I believe that Lizzie’s ‘colourful’ approach to piano can support the musical development of a wide range of students. Her method is suitable for beginners of any age, and also can give experienced music ‘readers’ a sense of freedom and the confidence to improvise.”

“When I have the colours, I only have one element to focus on. That gives me complete freedom to make music. Whereas if I have the score I have to focus on every single note.” “Much easier with colours! It’s also easier to be more expressive when you can see what’s coming up. Your playing can be more fluid.”

The creator of this course, Lizzie de Lacey, is a two-times graduate of the Royal College of Music, London. Her qualifications include ARCM (teachers); dip ABRSM (performers); and MSc in Performance Science. 

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I understand you took up the piano during lockdown. What prompted you to do this and did you have any experience of playing the piano before then?

Yes, I started learning the piano shortly after the first lockdown hit, when I went to stay with my girlfriend (for the lockdown period). She has played the piano since she was a child. We dug her keyboard out of the loft with the intention of her brushing up on her technique, but after an hour of us playing around and her showing me a couple of easy things to play, I was hooked.

I have not had any experience with, or exposure to any instruments before, so I had to start with the basics. Not knowing anything at all about reading music, chords, key signatures etc., but with a brain that has a thirst for knowledge, I set out on my journey.

What attracted you to the piano?

It was more about circumstances than attraction. I had always wanted to learn an instrument and when I was presented with lots of time on my hands and the keyboard in front of me, I jumped at the chance.

What have been the pleasures and challenges of learning to play the piano?

There have been many challenges, but I think the main one for me was finding the right things to practise/learn and in what order. Whilst teaching myself in a lockdown, I read many books and watched loads of YouTube videos. I found that information was often just repeating things I had already learned. The other challenges included getting my hands to do different things at the same time and then, when I bought myself a pedal, adding that third thing ….. a challenge which I still struggle with.

When I am sitting at my keyboard and no matter what I am doing, whether it’s playing a piece, doing scales of chord progression, or learning a new piece, the pleasures for me are that nothing else matters in the world at that point, I am completely present in the moment. That is what hooked me at the beginning and still does now.

How much practising do you do on a daily basis?

I can normally manage an hour’s practise each day; more if I am lucky enough. I normally start with some scales, chords and arpeggios working my way through the keys. A different key each week. Then I learn more and practise the piece I’m working on at that time. Following that, I like to just ‘free play’, learning what sounds good (and what doesn’t!!) and not be tied to the music on the sheet. I usually finish by playing some pieces that I have already learnt and enjoy playing.

What kind of music do you enjoy playing?

My favourite genre is Jazz and Blues. I love the sounds of jazz chords as they resolve into each other and with blues, I love the swinging rhythm and that soulful feel it has. I get lost in it. I do also enjoy playing classical music, although I am sticking to playing some slower pieces for now.

What are you working on at the moment?

I am working on Beethoven’s Moonlight Sonata 2nd movement at the moment. I have
learnt the 1st movement and love playing it. I am also trying to teach myself to improvise Blues.

You belong to a piano meetup group. What are the benefits of belonging to such a group? How do you feel it supports your progress as a pianist?

I highly recommend joining a meetup group. I have been fortunate enough to meet some encouraging and supportive people there. I was very nervous at first and not sure what to expect; my hands were shaking and half way through my first piece I froze. Everyone was so supportive that I managed to carry on and finish!

I am a perfectionist and very tough on myself and seeing that even the best players can hit a ‘bum note’ or even lose their place at times, helped me loads. Also just seeing pianists perform in real life was inspiring.

Would you consider attending a piano course, and if so why?

Definitely. I have been looking into getting lessons now and things are going back to normal (post lockdown). I am struggling to find someone that has space that fits around work. I feel that I need some direction now. I have tried some online subscription lessons but they’re not for me. Although they did help, I would like someone to whom I can ask questions and who can watch me and tell me what I am doing wrong (and hopefully right!)..

What about piano exams… do you have any plans to take grade exams?

Yes, I will definitely be taking some graded exams at some point. Actually when I started to learn I used the grade books as a starting point for learning and would love to go through them with a teacher and sit the exams.

What advice would you give other adults who are considering taking up the piano?

Do it!!!! Sometimes it feels like a mountain to climb. Reading music, theory, scales etc but keep it simple. For me, the more I did scales and read music, then looked into the theory, timing and key signatures, the more it made sense. Learn an easy piece or song that you enjoy playing so when the practise gets boring you can play it and lose yourself in it. The most important thing is to have fun.

If you could play one piece what would it be?

I long to be able to ‘jam’ and confidently improvise on the piano.

Biography
I grew up in Leighton Buzzard, Bedfordshire. After leaving school I trained as a plasterer, which I still do today. I suffer from drug addiction and I spent twenty years in active addiction; not really living but just existing and the last eight years of those I was homeless. After making the decision that I needed to change, I moved to nearby Luton and started attending Cocaine Anonymous (CA) meetings. After a six month detox program and support from CA, I now work a 12 step program and have reintegrated myself back into society. I will be three years clean from all drugs and alcohol on the 13th October 2021. I met my girlfriend, Abbie, whilst working in the school where she works, and now live in Surrey with her.

If you are an adult amateur pianist and you would like to take part in the Piano Notes series to share your personal piano journey, please get in touch