Types of Pianists

Types of Pianists

If you have ever played this dreaded and heavy instrument that’s called the piano, chances are that you fall into one of the following categories:

Read at your own discretion.


The recreational pianist:

A recreational pianist is a person that has studied the piano at some point in his life, probably while still at school, and is practising now and then. He likes to play tunes from the radio and can read fake music fairly well, but takes ages to learn an averagely advance classical piece and usually gives up practising swiftly until the next time he feels like playing again. Quite often while he plays, he would have a big smile on his face and sometimes peanuts in his mouth. At gatherings he would almost never play a piece in its entirety and would stop at least twice while trying to play it. After he has finished butchering the piece he would often say tales of how beautifully he used to play it three and a half months ago. He would make special mention to the fact that in the past he was able to play that piece extremely fast too, and swears that he played it perfectly the day before yesterday.   He is happy and thankful to the fact that he can communicate with people through his piano playing. He is perhaps the least anxious of all types of pianists.

The professional pianist:

A pro is a pianist that makes his entire living by playing recitals in concert halls, big or small. He often plays in ensembles and spends a considerable amount of time traveling from one event to another, at home or abroad, in order to make a living. Unfortunately, he doesn’t have the time to teach and enlighten the others. He is, as people say, the virtuoso pianist. Sadly, being a professional pianist has its negative sides as well. Quite often, a pro would have to play the same recital program many, many times and in different venues, and thus, at the expense of musicality.   The repetitiveness of his playing the same programs could often lead in playing mechanically, sacrificing the character and soul of his repertoire. But because he is called a Pro, lacking in musicality is rare, since he can always fake it.   Unfortunately quite a lot of the times, professional pianists also tend to “˜show-off’ a little bit, since this is how most audiences get excited. Moreover, they would play every note correctly, (not a bad thing) and thus, for the amateur listener they would define greatness. The professional pianist knows that showing-off is an essential part of his business, thus he would take every opportunity to cleverly insert it in his performances, quite often in disguise. For instance, often, he would pretend to look extremely concentrated while playing, or, in order to show how passionate he is, he would have an extraordinarily awful grimace on his face while playing the slow movement of a sonata.

The piano teacher:

He is the pianist that has failed to realize his childhood dream of becoming a soloist. Let’s be honest here for a second:   It’s arguably true that most of the piano teachers when first started studying the piano they dreamed of becoming virtuosos. Again, sorry to all big-headed “virtuosos”. Anyway. The piano teacher perhaps has reached a point in his life when he doesn’t have the courage to stop being a musician altogether, and has decided to dedicate his energy in passing his knowledge to the others. His forced decision of becoming a teacher could have surfaced slowly through years of disappointments of not being able to achieve his childhood dream of becoming a famous pianist. Hardly ever a person decides to become a piano teacher from the start. It could be that his decision to become a teacher has happened from lack of interest in becoming a virtuoso, and thus, settling with the less demanding and readily available art of teaching.
Nevertheless, this decision to educate is truly a magnificent thing, even though the motive is not always that great. Yet, a piano teacher is courageous, and would strive to make other people live the glory he didn’t succeed to have. Of course, every now and then he would play in low-paid concerts, even though the majority of his income would be made by teaching the piano.

The conservatoire pianist:

The conservatoire pianist is a pianist that is serious about learning his instrument well. He combines his practical study of piano with academic studies in music in order to understand why he should play the way he should. His not a pro, dare you not call him recreational ever, and of course he is not necessarily falling into the teacher category; (not just yet, anyway…). He belongs in the athletic side of music. He is practising long hours meticulously, trying to improve his technique and consequently his performance of the piano. His is not playing the piano as a hobby anymore and he tries to convince people around him, but mostly himself, that he deserves a place in the musicians’ sphere. His performance is constantly assessed throughout his studies and that makes him quite nervous at times. He worries about marks and alas about his ranking among his fellow classmates. Not the most down-to-earth person around, and not yet ready to have a concrete understanding of what music and piano is really all about. His emotions are all over the place, but one thing is for sure: he is eager to learn and he is there to succeed. He is, plainly, a student.

Thank you fo reading this bold and harsh article. Take it with “a pinch of salt” and use it as food for thought, as they say. 

Starting a New Piece

Starting a New Piece

We should start a new piano piece as we do with everything that we want to take seriously in life; methodically and gracefully. A new piece needs to be treated as a newborn child – with care.

Reason

 

When starting a new piece, we may want to answer the following questions: What is the reason for learning that particular piece? Is this piece just for our enjoyment? Is it to advance our technique to the next level? Is it for an audition or an exam? Whatever the reason to start a new piece may be, we will have to follow a specific routine in order to learn it properly. This is a journey of our senses, so we mustn’t arrogantly rush in and try to complete a piece quickly; confidently? Yes.

Rewards

 

A new piece is a new experience in our life’s “suitcase” of achievements. Learning it properly is important for many reasons. First, it can strengthen our technique and prepare us smoothly for the challenges of our future pieces. It will advance our perception of musical styles, so the next piece could be easier to apprehend.

Moreover, learning a piece properly from the start can have some practical rewards, such as making it easier to pick it up again in the future because it would have stayed in our memory for longer – When we say to learn it “properly” we mean with the right musical techniques.

Learning a new piece is not only a technical journey, but a spiritual too. In life, we learn much more when we don’t rush things. Similarly, if we rush into pressing the keys, we won’t learn a piece properly or quicker in that matter. This applies to everybody, no matter how talented they think they are. There is a set of rules that we need to follow, each with our own strengths, to complete a piece. I’m sure that a lot of you are thinking: “just open the score and practice, that’s what I’m going to do after I have finished this article!”. That’s true actually, but we must put things in order first. So here’s how to raise your newborn piece.

How to proceed

 

– We start by sight-reading the piece through with hands together. We don’t have to it if it’s a really long piece, but it is always a good practice for testing our sight-reading skills.

See how the piece feels in yours hands. Most likely it will feel uncomfortable, for the most part. However, here’s where your preservation instinct, per se, will kick in and you will have to play more methodically.

– Next, we should practice hands separately. I know it can be boring to some of us, but remember, many things that take us to the next level in life, are boring in their core. Start by practicing the right hand first. This is not a rule, other than we are lucky that in this hand most of our lovely and “tantalizing” composers have placed their pieces’ melodic lines – the tune if you like. The reason a melodic line is written towards the top registers is perhaps because composers generally think it provides a better harmonic balance between the hands. If I was pressed to somehow portray the melodic and harmonic difference in a piece, I would say that the melodic part is the “words” that a composer uses to make his or her musical statement, whereas the harmonic part is the mood that those words are “uttered”.

After we get to know the right hand (or the hand that has the tune), we are being introduced to its coworker — the left hand. Fortunately, we are lucky enough to have two hands, thus it can be handy when playing the piano! We perceive the left hand in the same fashion as with our right. Left hand is equally (if not more) important to the right, as it usually provides us with a foundation for a piece’s melodic structure to rest on. It is the hand that makes the right hand’s “storyline” more noticeable and enriched. Try to think of the right hand as the top layer we see on a cake; but it is the bottom layers that establish the fundamental taste of a cake. Thus, the value of “tasting” the left hand separately is of great significance.

– Next, accelerating towards learning the new piece, we apply the metronome effect. Read Article “The Metronome Effect“.

– A very important rule is that when we try to learn the new piece, we should try to play everything correctly in order to avoid developing bad “habits” in a piece. For instance, use the correct fingerings from the start, because it will take many more times later to change it than it took to learn it incorrectly. Plus, there is no reason to risk sabotaging the piece’s structure and phrasing by choosing to play it with an awkward technique. The same applies to both the dynamics and the articulations. Apply the proposed dynamics and articulations from the very beginning. Also, it’s needless to say, to play the correct notes from the beginning.

– Now, many pianists wonder if they should play using the same technique when practicing at a slower tempo. The answer is yes. Execution of articulations and dynamics should not change when we practice at a slower tempo but should remain regular. Except of course if we use a passage to improve a particular aspect of our technique. For instance, we might want to practice a fast legato arpeggio slowly and staccato, in order to secure our finger-control. Or we might choose to change the rhythmical pattern of a passage and treat it as an exercise material. For instance, we could practice Chopin’s study op. 10 no1 by changing its smooth rhythm; so, instead of playing the continuous semiquavers as written, we could play the first semiquaver of each count dotted in order to improve the agility of certain right hand fingers.

– Think! And then think some more. Here are some simple questions you could ask yourself: What is this piece trying to tell us? What is the composer trying to tell us? Is he just writing frantic passages in order to just show off his ability in composing (quite often the case)? Why is he writing so laconically? Is he trying to tell us a story? What is the essence of the piece you are about to start? Why this, why that?

Ask as many questions as possible. By answering some of these questions, you will get closer to solving many of your piece’s technical difficulties.

Copyright ©Nikos Kokkinis

 

Which Passages to Practise Daily

Which Passages to Practise Daily

Every part of a piece is arguably always subject to constant improvement. However, fine pianists practice the “right” parts of a piece every time. They know which passages to practice – They do not just practice the same passages over and over again!

The “Right” Passages to Practise

 

Which are the right passages? I hear you ask. These are the passages that the pianist does not feel comfortable with while performing a piece; the parts that need improvement.

A very common practising mistake is that, regardless of technical difficulty, some pianists have a tendency to play the passages they enjoy the most repeatedly. That means that some parts develop to sound better, while other passages are left behind to deteriorate. And not surprisingly, the parts that have not been practiced enough sound the worst in the concert venue. Remember, we haven’t played Liszt’s B minor sonata, until we have played its last note; well, with some sense of musical continuity from the previous part, of course.

Thus, wait until you have finished a piece before bragging about your triumph of playing it. Sorry to break the news. However, you can lie to yourself and to your friends as much as you like about this and that sonata you have allegedly played. It doesn’t matter.

Improve This Page or Move to the Next One?

 

Now, should we move to the next page, or continue improving the previous pages of our piece until they are ready? Move to the next pages of your piece as soon as possible; that goes without saying. There is no reason to improve to perfection a passage, while other passages have not even been touched yet. We have to try and learn the entire piece progressively and as smoothly as possible. I’m sure that sometimes you have noticed in concerts, that even though the beginning of a piece sounds great, as the time passes the piece sounds worse. Clearly, that was the result of the pianist spending too much time practising certain passages. Remember that perfecting a passage, per se, is an impossible task. It’s like in life, where nothing can really be perfected. The same applies to a piece of music, especially if you haven’t learned the notes to the next passage.

We should also try to play hands separately, as often as possible, especially for contrapuntal music. O course, practising hands together is a very useful thing to do since we can always improve our sight-reading if a piece is new. But if we are not as impatient, by practising separately we can observe some interesting things that happen in our left and right hand pasages without even realizing them. For instance, the harmonic progression of a left-hand passage can make us appreciate the right hand more. Bach’s music, for instance, often has a contrapuntal nature, so it advisable to play separately in order to indulge in the beautifully different voices and textures.

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Copyright © 2009 by Nikos Kokkinis

 

 

 

Which Pieces to Practise Daily

Which Pieces to Practise Daily

Even though this website is mainly intended to teach you how to do things to become a virtuoso pianist, practising the piano should always be seen as an enjoyable experience. Yet, hopefully, there will always be a reason for why you are practising a particular piece, even if that means that this piece is just for fun. However, this could be different with your piano instructor. He or she, most of the time, will have a plan for why their chosen repertoire may be advantageous to your progress. (more…)

The Piano Studies

The Piano Studies

After playing a few scales to warm up, our next step is to play a study or two. But not necessarily. It depends; if we had a concert deadline and we were in a hurry to get on with practising the pieces of that particular concert, it wouldn’t really matter if we didn’t play technically perfectly the 4th study Op.10 by Chopin. Do you see what I mean? Yet, as I mentioned in a previous article, playing perfectly a scale when you start practising, is paramount.

Bear in mind that most studies are complete compositions that need mental commitment to play appropriately. It is not advisable to play a study just for the sake of technique. Except if it is written precisely for that particular reason. Composers, such as Hanon have done exactly that; they managed to write beautiful exercises just for strengthening the fingers and making your technique stronger. Whereas, composers like Liszt and Chopin wrote studies to be used in various contexts.

However, in my opinion a study is not just to be played for warming up, but played mainly in conjunction with your respective pieces. We should always seek “advice” from our exercises when we are in trouble in our pieces. For instance if we had apiece that contained a lot of thirds in the right hand, it would have been really useful if we had practiced Chopin’s Op. 25 No.6.

Sure exercises can be played to warm up or just to improve our technique. But it is not advisable to just start our practising with them since most of them should be treated as pieces with musical meaning. We should always start our practising with scales. (Please see article: Slowly Does It, with Scales).