Pianist to Pianist

A collection of pianistic, pedagogical, methodical, musical, artistic, and cultural contemplations, concepts, observations, and concerns, from pianist to pianist, pedagogue to pedagogue, musician to musician and from a curious and critical observer.

What is proper movement at the instrument for the classical musician? A minimum of action for a maximum of expression. Observe the greatest virtuosi or the greatest athletes: they move as much and as little as necessary to serve the purpose of expression and excellence. In...

The desire for the pursuit of excellence is the paramount talent. The staggering reality of talent however is, that it is not a mysterious gift but the motivator and the result of methodical practice. How can every man become a genius, a virtuoso, a master, an...

Since regression to the mean is inevitable, it suggests two conclusions: 1) one has to strife for performance mean rather than performance peak, and 2) the standards of that mean have to be set infinitely high! That is what it means to grasp for the stars. Therein lies...

Some misinformed students try to play the piano while applying a self-inflicted tension-hobble on their shoulders, arms, and hands, thus substantially hindering the natural motion of the entire pianist mechanism and in result sabotaging their expressive range. Like trying to conduct an orchestra in a...

How to practice faster playing? One way is to reduce the processing of available information to the necessary - listening to fewer details is faster listening, which enables faster playing. For example: Rhythmically - fewer beats in bar or phrase; halves instead of quarters, whole bars...

When, while practicing, you experiment with the evenness of a passage, the balance of a chord, or the gesture of a melody, you can accidentally get it wrong, but you cannot accidentally get it right. Determining and setting up exactly what you want to hear, what...