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.

If we don’t know the answer to “what happened?” we shrug. Try it. It is interesting to observe that the universal physical expression of cluelessness is raised shoulders. In piano playing the same symptom is a result of undesired, uncontrolled, undirected, and unreleased tension. That’s what...

Learn to listen: At first you squeeze and pull and push the sound in to melodic expression. That's not satisfactory. You must learn to let the melody speak and sing by listening to each sound as it unfolds and dynamically connects to the next. Melody is...

Just like there are actors pretending to be James Bond (although never confusing realities) while some real secret service agents have fascinating lives, just like impersonators put on an Elvis suit and start rocking, there are musicians who pretend to be musical, portray to tell...

It might be an inevitable impediment, it might be what the era demands, but we must ask why, we must ask what the purpose of a culture is, that desires, promotes, and prefers processed and canned musical food, exclusively pretty performers, and colorful events with...

In piano playing there are visible and invisible movements. Invisible movements are contractions or relaxations of muscles as well as supportive pronation and supination without actual visible movement such as squeezing an apple or trying to turn a stuck key. Thobias Mathay was probably the first...

In music we are like detectives of the past, the score a crime scene, we need to find answers to the questions and mystery posed by the score. You can see the different approaches: Brendel, Richter, Dirty Harry, Sherlock Homes, Columbo, Poirot, Miss Maple, Kojak, Monk,...