This week I am focusing on adult students, adult returners in particular.

I value all of my students, and each have something uniquely musical to offer, every journey is important. When an adult returns to the piano, however, there is often quite a deep emotional connection they have had with the piano which has been left ‘incomplete’ for so many different reasons. Not that any journey at the piano is ever ‘complete’, even as professionals we hope and love to keep learning and to keep improving; as the Cellist Pablo Casals famously said when asked why he still practised for several hours a day at the age of 80, ‘because I think I am making progress.’  I think we can all relate to this. With adult returners however, there is often a sense of revisiting a relationship with the piano which was often quite abruptly ended for a number of reasons, sometimes it is as simple as having to prioritise school work and studies at the time, financial constraints, not being able to house a piano, or juggling young children and work, for others there has been and ending which was not of their choice, sometimes a very abrupt one which has left the student with regrets and ‘what ifs’.

‘One of my adult students, Kathy Hindle says: ‘’I bought a keyboard, and tried for a year to play without the benefits of a teacher. Then I met Lorraine at the REC in Bedford. Since taking lessons from Lorraine, she has taught me how to practise effectively, even when time is short. It is very important to eradicate mistakes by practising individual bars and tying them back into the musical narrative. I had the experience of repeating mistakes endlessly until Lorraine showed me how to change. I feel an immense sense of satisfaction at mastering a piece of music after regular and repeated practice. Playing music really forces me to ‘live in the moment’ and takes me away from my day-to-day problems. I have had lessons from Lorraine since September 2023 (16 months) and I feel I have made much progress in that time. She has helped me to find enjoyable repertoire at a comfortable level, and some of her suggestions – even down to changing fingering – have been transformative. I realise her breadth of knowledge saves me a lot of effort. I have rediscovered BBC Radio 3, where all the programmes are digitised and may be re-played through BBC Sounds. Now that I know how much effort it takes to play music well, I have a fresh appreciation of live music and our musical tradition in UK.’

Some of my adult students have returned because their children started to have lessons, and they want to share the joy of music with them. This is the case with husband-and-wife Neil and Nellie who both have very demanding careers and for them their piano lessons and practice are a way of being part of their children’s musical journey, enjoying music as a whole family, and also of immersing themselves in their own practise and playing which gives them a wonderful creative outlet and escape from their careers.

The wonderful thing about teaching adult returners at any level, is that they are always having lessons because THEY want to, not because they HAVE to, this is always closely related to their motivation, as is the fact that they are self-funding of course. I really do love teaching adult returners and will write more on this topic in another blog post as there is so much to explore; it really is an absolute pleasure to be part of their return journey to the piano.

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As a teacher of 40 plus years, having taught many  students, ranging from aspiring professionals and piano teachers, to those who simply love the piano and want to go as far as they can to be able to master some of it’s wonderful repertoire, I like to reflect a lot on my teaching, to ensure that I am still giving my students my best, and more particularly so at the start of a new term , and indeed, a new year.

This reflection is not just about whether my students have achieved the goals we set together at the start of the previous term, but it goes somewhat deeper; I want to know how much my students are enjoying their lessons, do they feel motivated to practice, are they loving what they are currently playing, do they enjoy performing, what next, and most of all where and how does the piano fit into their lives.

As teachers it is indeed part of our job to set short- and long-term goals, to teach students how to practice effectively, to introduce them to new repertoire, to encourage them to listen to music and to attend concerts. We are there to share our knowledge and experience, but also to encourage them to become more independent learners.

It is also part of our job to reflect on how all that is going, and to ask ourselves if we are really giving our best to each and every student.  We need to remain fresh and enthused ourselves, something which can sometimes be challenging when we spend huge amounts of time teaching one to one; this is where CPD and peer support is really important, as is keeping up our own playing, continuing our own musical journey.

Something I have been thinking about a lot is how much do we, as piano teachers, know and fully understand where and how the piano fits into our students’ lives, what their lessons and their playing mean to them, so I decided to begin this term by asking them to explain this in more detail to me. Some have opted to write a few words; others will do a short video; I thought it would be interesting to share this with other piano teachers and students here in this blog. I don’t believe in a ‘one size fits all’ prescriptive approach to teaching, we are teaching individuals and therefore our approach needs to be to respond to them in a very individual way and to do this, I do believe that we need to truly understand how they feel about the piano and about their lessons.

My first ‘Spotlight’ is on my student Nelly Palmer who is in the first year of 6^th form and is studying for a Piano Performance Diploma with me, Nelly also composes and plays the Cello (she has recently passed a diploma in Cello Performance), excels in her schoolwork and loves to run and to write. I marvel at how Nelly not only fits all of this in, but excels at all of her favourite subjects, however, she is extremely organised, enthusiastic and dedicated with so much mental energy and a love of life. Nelly is a wonderfully musical student, she thinks deeply and carefully, we have such interesting musical discussions, I have been very keen to encourage Nelly to offer her opinions and to find her own unique musical voice, it is really a privilege to see this beginning to happen and to be on this journey with Nelly.

Nelly loves to perform, as well as performing in the concerts I organise for my students, Nelly organised and prepared her own solo Piano and Cello recital last summer for charity and in the same term Nelly won a local Young Musician competition last year and various classes at the local festival.

Here are a few words from Nelly on what the piano means to her personally, along with a clip of her beautiful performance of Debussy’s Sarabande from Pour le Piano, in our student summer concert.

“For me, the piano is a chance to completely immerse myself in the childlike act of play. It allows me to be present, pedantic and perfectionist in a safe and creative way, while connecting to a huge historic tradition of others who have done the same. I also use my playing to advocate for the art of people who have often been excluded from that tradition (such as women and people of colour). Music celebrates the universal human infatuation with expression, pleasure and pattern making, in a way that nothing else I know of can.”

https://www.facebook.com/share/v/18Ny1DCkjA/?mibextid=wwXIfr

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Too often, we focus on progress, technical mastery, and hitting milestones like completing a piece or mastering a new scale. There is also often a focus on exams or grades, however these ‘goals’ often focus more on the destination rather than the journey. For some this is a huge motivator and for others it takes away some of the joy of the process itself.

So, my question to you is are you truly enjoying your piano journey? If so, how can you maintain that joy even through the challenging times?

If not, what are you not enjoying, is it the focus on the progress, is it the time it takes to learn a piece, is it the repertoire choices? By asking these questions, we, as teachers can help to ensure that our students really do enjoy each stage of their journey, whether that is by helping them to choose repertoire which they like and are ready for, (there really is something for everyone), helping them to practice more effectively, and offering a positive and unpressured environment where students can share their challenges without fear of being judged.

1. The Joy of Discovery

One of the most exciting aspects of learning an instrument is the constant sense of discovery. Every new piece you learn, every technique you master, opens up new worlds of possibility. Are you taking time to celebrate the small victories, even if they’re just getting through a particularly tricky passage? The act of discovery should always feel rewarding, and the process itself should be satisfying—not just the final result.

If you find yourself feeling frustrated, it’s okay. But if frustration is the norm, it may be time to reframe your approach. Shift the focus from perfection to exploration. Consider each practice session as a way to learn something new about the music and about yourself.

I want my students to really enjoy the process and to look forward to each practice session rather than dread it.

2. Find the Balance Between Challenge and Enjoyment

It’s easy to get caught up in the cycle of pushing yourself to be better, faster, or more proficient. But the most enjoyable piano journeys are those that strike a balance between challenge and the sheer pleasure of playing. If you’re playing pieces that are too difficult, you might feel overwhelmed. Conversely, playing pieces that are too easy might not give you the sense of accomplishment you’re seeking.

Finding that sweet spot—where the pieces you’re working on stretch you but don’t leave you feeling defeated—is key. Celebrate the moments when something clicks and you suddenly realize you’ve improved, even if just a little. That sense of progress is what keeps the journey exciting.

I suggest that my students have a repertoire list of their favourite pieces they have learned, and that once a week they make time to have a practice session which consists of just playing through some of these pieces. This offers a real sense of pleasure and playing for the sheer enjoyment of the music and can really be something to look forward to when spending lots of time learning new works which can leave students feeling as though they can’t actually ‘play’ anything.

Many of us can get caught in a cycle of “serious” practice, where every minute spent at the piano feels like an exercise in perfectionism. However, the most enjoyable piano journeys often include moments of playful exploration. Playing just for fun—without worrying about hitting every note perfectly or learning an advanced piece—can bring a sense of lightness to your playing.

Take time to improvise, to play your favourite songs by ear, or to revisit old tunes that bring back memories. Music, at its heart, is about enjoyment. If you’re too focused on doing everything “right,” you might forget why you started playing in the first place.

3. The Power of Connection-Share your Music

Piano isn’t just a solitary pursuit. The magic happens when you share your music with others or connect with other musicians. Whether it’s performing for friends, participating in a recital, or simply sharing your practice progress with a teacher or fellow student, the act of sharing can reignite your passion.

Engaging with a piano community—whether in person or online—can provide you with valuable feedback, inspiration, and motivation. It’s easy to get lost in the isolation of practice, but when you connect with others, you’re reminded of the emotional and social power that music brings.

Joining a piano group and playing duets or accompanying a fellow instrumentalist can be a wonderful way of sharing music. These activities also help you develop other skills too, a keener sense of balance of sound for example and a stronger sense of pulse when playing both duets and accompanying other musicians.

There are numerous courses and summer schools for pianists of all levels to explore too, these can be a fantastic way of connecting with other musicians whilst also further developing your own skills.

4. Piano as a Form of Expression

As you build your skills, you have more freedom for self-expression. A strong technical foundation gives you the freedom for expression and to play more repertoire, however, this doesn’t have to mean hours of technical work.

There are many ways to build a strong technical foundation using the repertoire you are playing. A good teacher will help and guide you with this.

There are many apps and lessons available to watch, however my experience is that these are okay when used in addition to having a good teacher, in my opinion and years of experience, nothing can replace one to one lessons with a good teacher when it comes to building strong foundations.

Of course, we need more than just a good technique, we need an understanding of what the music is saying, we need to understand how to shape a phrase, how to create a beautiful sound, and so much more. Technique helps us to execute the music and enables us to play more expressively because we have the ‘tools’ to do so.

5. Embrace the Journey, Not Just the Destination

One of the most important things to remember on your piano journey is that it’s not about a destination—it’s about the journey itself. Piano is a lifelong process. Whether you’ve been playing for months or decades, there will always be new techniques to master, new styles to explore, and new ways to connect with the instrument. If you’re constantly thinking about what you should be achieving, you might miss the beauty of the moment. 55 years into my own piano journey I am still learning, I am still developing as a Pianist, I am still a work in progress, and I hope this will continue to my very last days on this earth.

Someone asked me the other day what I am going to do when I retire, and would I be selling my pianos then. Why on earth do I ever want to retire from playing the piano, in many ways I often feel like my journey is still beginning, there is so much to learn, so much to develop and so much repertoire to explore and for me that is the joy, the never-ending journey at the piano.

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I find increasingly that I inherit students who do not, and I can see how frustrated they are as they cannot understand why they are not able to play written music with any degree of fluency and why learning a new piece takes them so long.

One question I ask them, is quite simply, if you don’t know French for example, but you try to read a novel in French, would this be possible, and how long would it take to look up  the meaning of every word if you were to attempt it?  The same applies to one’s own language, if you are just learning to speak and to spell in English, you just would not be ready to read Dickens for example. It is glaringly obvious and yet students and sometimes teachers, do not seem to see that.

How do students know when they are ready to progress to pieces of increasing difficulty level? How fluent do we need to be in the language of music and why do students often rush and skip through developing the necessary skills.

In order to read music and then transfer what we are reading onto the keyboard fluently, we must be able to read pitch and rhythm, have a good sense of keyboard geography, a solid technique, and a sense of pulse at the very least.

I find that many students either have or want to rush the initial stages of learning and this just will not work, learning to read and play fluently is a process, developing a sense of keyboard geography, pulse, pitch, rhythm, metre, technique and being able to make a beautiful sound, these things all take time to develop. As we progress, we need to understand the writing in more depth, we need to know about harmony, melody, balance between the hands, balance within the hand, voicing, texture, form, performance directions, a greater sense of  key and tonal colour needs to be developed, an understanding of what the piece means, its context, developing a sense of style, and so very much more.

Why do students try to rush their musical development? Why do students want to play music way above their current capabilities and then become frustrated when they cannot?

I think it often stems from not learning enough variety of repertoire in the early stages of playing, as early perhaps as the very first stages when students begin working through tutor books, we need lots of supplementary repertoire at the same level, students need chance to absorb and develop each skill before moving onto the next.

It also stems from the obsession with doing exam after exam and using the exam syllabus as a curriculum, this is such a terrible way to teach/learn and unless you are a very rare type of musician, you will come unstuck at some point with this approach.

If students take the time to learn and develop carefully and thoroughly at every stage, everything you learn will be transferred to the next piece, if you don’t however, each piece is like starting from scratch as a novice, not recognising notes, rhythms, patterns, not having a sense of key or pulse, these are all things which will hold students back if they do not take, or are not given the time, to develop them.

There is an absolute wealth of pedagogical materials for pianists from beginner to advanced, there is a huge variety of repertoire, we are spoilt for choice but the beauty of this is that as teachers we are in a position to design an individual curriculum for each and every student according to their own needs, not to do so seems negligent to me.

I believe that we must help our students to enjoy the process of learning, practising, developing skills and a really solid understanding of the language of music at each and every step of their musical development so that they are then able to scaffold their learning, apply their knowledge and skills to each step and enjoy the journey rather than obsessing about how quickly they can get to the destination. The joy of it really is that we never really arrive at the destination, we continue to build, to learn, to enjoy, to progress and to develop as musicians throughout our life, what a gift this is!

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I love teaching the piano and I enjoy being part of each and every student’s piano journey, it is a real privilege. Many of my students will go on to study the piano at music college, or to study music at university, however, many will not, but I hope to inspire in each and every one, whichever direction they may take, a deep and lifelong love of/for the piano and it’s repertoire, I would say that this is my number one goal for all students.

Amongst the many young musicians I teach, I have a significant number of adult students, for many the story of learning the piano began with lessons in childhood, for some the joy of learning passed them by, or was ‘taught’ out of them by lessons which focused solely on exams and parents who insisted that they didn’t ‘mess around’ at the piano, but focused only on their exam work. For others, academic studies or sports took over, or some simply lost interest along the way. Whatever the reasons, adult returners often express a huge sense of regret at not having continued their piano journey into adulthood.

It often surprises me how many adults feel this pull back to the piano. They return to the instrument they once left behind, and often find themselves enjoying it far more than they did as children. Why is this such a common experience, and what makes playing the piano so rewarding for adults who return after a long hiatus?

Freedom to Play for the Joy of It

One of the biggest differences between childhood piano lessons and adult returners is the motivation behind playing. As children, piano lessons are often seen as a chore or an obligation. Practice feels like yet another ‘homework’ task, and the music learned might not always align with the child’s personal interests. For many adults the choices of repertoire were made by their parents or teacher and the child had little choice in what they were allowed to play and when or how to practice.

However, when adults return to the piano, the dynamic shifts. They are now playing for themselves, not because someone else told them to. There’s no pressure to meet anyone else’s standards, and this freedom opens up a whole new world of enjoyment. Adult returners often find that without the weight of expectations, they can approach the piano with a sense of curiosity and passion that was missing before.

A Deeper Emotional Connection to Music

As adults, we bring our life experiences with us to the music we play. We’ve often felt love, loss, joy, and heartache, and these emotions resonate through the music we choose to play. We have explored more of the world and have a deeper understanding of life. Pieces that may have felt abstract or technical as children now take on new meaning. A Chopin nocturne, for instance, might feel more poignant after experiencing personal challenges, descriptive pieces may be more evocative and of course there will be so much which will bring a sense of nostalgia.

This emotional connection is one of the reasons why adults often find greater fulfilment in their piano playing. The music becomes a way to express feelings that words can’t capture, offering a sense of catharsis and personal reflection. Whether playing a melancholy ballad or an upbeat ragtime piece, adults find that the piano provides a deeply personal outlet for their emotions.

Of course, it must be said that in order to be able to play expressively, students need to have the technical skills to be able to play fluently and to master the repertoire of their choice. It is often the case that adult students will work diligently at this, but equally, there are some adults who find it frustrating that the technique they may once have had is hard to get back, and they may find this is something they will have to work a little harder at.

A Stress-Reliever and Mindful Escape

Life as an adult can be stressful. Between work, family responsibilities, and the general hustle and bustle of daily life, it’s easy to feel overwhelmed. For many adult returners, the piano becomes a form of escape—a way to slow down and focus on something outside of the pressures of the day.

Playing the piano requires concentration, but in a way that feels meditative. The act of reading music, coordinating both hands, and focusing on dynamics and phrasing draws the mind into the present moment, creating a sense of mindfulness. Many adults find that after spending time at the piano, they feel calmer and more centred, as if they’ve hit the “reset” button on their day.

In this way, returning to the piano isn’t just about music—it’s also about mental well-being. The time spent at the keyboard can become a daily ritual of relaxation, providing a mental break from the stresses of adult life.

Reconnecting with a Childhood Dream

For some adults, returning to the piano is about picking up where they left off and fulfilling a childhood goal that was never fully realized. Maybe they always wanted to master a particular piece but gave up before they could. Maybe they stopped lessons just as they were getting good, or always dreamed of being able to sit down and play fluently. Returning to the piano as an adult offers a chance to reconnect with those early dreams and bring them to fruition.

This sense of accomplishment can be deeply rewarding. As adults, we understand the value of persistence and hard work in a way we might not have as children. By returning to the piano and seeing tangible progress—whether it’s playing a piece they’ve always loved or mastering a difficult technical passage—many adults experience a sense of pride and personal satisfaction that goes beyond music.

Playing What They Want

When you’re an adult returner, the choice of repertoire is entirely up to you. This is a big change from childhood lessons, where the music selection was often dictated by the teacher, exam boards, or lesson books. Now, adults can choose the music that resonates with them personally.

Maybe it’s learning to play a favourite song from their teenage years or diving into the classical pieces they’ve always loved. Perhaps it’s exploring new genres like jazz, blues, or film music. Whatever the case, adult returners have the freedom to follow their own musical interests, and this makes the learning process much more engaging and enjoyable. There’s a special thrill in sitting down to play something you’ve always wanted to.

An Appreciation for the Process

As children, we often lack the patience needed to truly appreciate the process of learning an instrument. But as adults, we understand that progress takes time, and we’re more willing to enjoy the journey rather than rushing to the destination.

Adult returners often take pride in the small victories along the way—learning a new chord progression, getting the left and right hands to work together smoothly, or finally nailing a tricky section of a piece. There’s also a deeper understanding of the nuances of music—phrasing, expression, and dynamics—that might have been overlooked as a child. This newfound appreciation for the subtleties of playing allows adults to find joy in every stage of their musical development.

Possible Stumbling Blocks

I am sure however, that many piano teachers have encountered adult students who are extremely intelligent and have fabulous careers and who therefore have an expectation that returning to the piano should be easier than it turns out to be. These students may often be shocked that they find something hard and issues we have to look out for here are physical tension as a result of this frustration, or, a situation where despite all of the positive aspects of being an adult returner, the piano becomes something to do battle with. In such cases I find that honesty and discussing the mindset behind this is the best approach and once a student recognises that they need to find a different head space for their practice then progress resumes. It is often much easier to discuss practice mindset with adults than with younger students and they are often better at recognising and acknowledging their own personal frustrations.

In Conclusion

For many adults, returning to the piano after a long break feels like rekindling an old friendship. The instrument is familiar, but the relationship to it has deepened and evolved. There’s no longer any pressure to play for others or to achieve perfection; instead, the piano becomes a personal companion—a source of relaxation, emotional expression, and creative fulfilment.

Whether returning to complete unfinished childhood goals or simply rediscovering the joy of music, adults often find that playing the piano as a returner is more enjoyable, meaningful, and rewarding than it ever was as a child. It’s not just about the music—it’s about the connection to oneself, the process of learning, and the sheer pleasure of sitting down at the keys once again.

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Why are so many piano students and their parents so focused on exams? This is very regular discussion on piano teacher forums and despite many teachers sharing the view that the exam syllabus is not a piano curriculum, this approach persists and continues to be problematic in that it can often feel like those of us who disagree strongly with this ‘exam conveyer belt’ approach to teaching, often feel that we must keep explaining ourselves to students and parents and find ourselves needing to justify the more musical approach of exploring the wonderful wealth of piano repertoire that we have, repertoire which would take more than one lifetime to explore!

I must make it clear, I am not anti-exams, not at all, I am just adamant that they should be used properly, and not be the main (for some, the only) goal. What do I mean by that? Well, exams should be taken when students are already playing at that level, if a student is having to strive to play repertoire that is way too technically or musically demanding for them, then they will be stuck for months and months working on the same 3 or 4 pieces which can be soul destroying and in fact, hold students back from progressing, as well as kill their love of piano playing.

Although we understand that exams can provide a sense of accomplishment, if used incorrectly, they can lead to a narrow focus on meeting specific criteria rather than nurturing a broader musical understanding. Exploring a diverse repertoire, on the other hand, offers a richer, more holistic experience and will give the student a greater appreciation and love of the piano.

What do I mean by The Exam Conveyor Belt Approach: The exam conveyor belt approach emphasizes structured learning, where students work through a series of graded pieces, technical exercises, and sight-reading tests. Certainly those who want to go on to study the piano at music college will need to take some graded exams, however, the exam only approach limits a student’s exposure to different musical styles and eras. The repertoire for exams is often curated to fit a particular level and pedagogical purpose, which might inadvertently confine students to a narrow range of pieces. As a result, students may miss out on the broader experience of exploring a wide array of composers and musical traditions.

Goal Setting: Parents and Students often state that they/their child needs to do an exam because they work better when working towards goals. Of course, we all often need a focus, something to aim for, but those goals do not have to be solely exam based, why not set a goal of aiming to learn more repertoire this term/year, of performing your pieces beautifully, expressively and stylistically to your teacher, or performing in your teacher’s student concert and/or in your local piano group. Learn a duet to play with a fellow student, family member or your teacher, or find another instrumentalist at your level to work with and learn a piece to perform together.

 For me performance goals are so important for students, and I offer plenty of opportunities for my private students to perform in concerts, festivals, groups and duos if they wish to, or if they are particularly nervous, just to prepare a piece and perform it to me in their lesson. I do not teach those who want to pursue and exam only pathway.

I often quote my teaching at Junior Guildhall where we do not focus on exams, but rather on performance. Students have many opportunities to play in weekly concerts and I can hand on heart say that these students thrive on this approach, they learn so much repertoire, so many different genres, and they therefore develop so much faster and more fully than students who insist on exam goals only and they learn to become confident performers because they start by performing repertoire that is well within their technical grasp allowing them to be free to express the music fully.

The Benefits of Exploring Repertoire:

Diving into a diverse repertoire offers so many advantages in musical and pianistic development that go way beyond the exam-focused approach:

1. Musical Versatility: Exploring different styles and periods of music helps students become more versatile musicians. Encountering the intricate rhythms of Baroque music, the expressive melodies of Romanticism, and the harmonic innovations of contemporary works for example, can greatly enhance a pianist’s overall musicianship.
2. Creative Expression: When students are encouraged to select and explore pieces that resonate with them personally, they often develop a deeper emotional connection to the music. This connection can lead to more nuanced and expressive performances, fostering creativity and personal interpretation. Developing tonal colour and their own musical voice is something which is often hampered by being fed a diet of exam repertoire only.
3. Historical and Cultural Insight: Learning about various composers and their historical contexts provides valuable insights into the music itself. Understanding the background of a piece enriches a student’s appreciation and interpretation, transforming the act of playing into a deeper musical exploration.
4. Enhanced Problem-Solving Skills: Tackling a broad range of repertoire challenges students to adapt their technical and interpretative skills. This varied approach can improve their overall problem-solving abilities, making them more adept at handling unfamiliar or complex pieces.
5. Increased Engagement: Students who have the freedom to explore pieces they are passionate about often show greater enthusiasm and dedication. This intrinsic motivation can lead to more consistent practice and a more enjoyable learning experience.

Striking a Balance:

Encouraging students to explore a variety of repertoire helps students to develop more fully as pianists both technically and musically and to enjoy a much more engaging and fulfilling musical journey. There is no reason why exams should not be a part of this journey if used correctly and approached as and when students are ready rather than the exam syllabus being their only repertoire.

We are so very lucky that there is so much repertoire for the piano, it truly is a life’s work to explore it all and even then, there is not enough time! It therefore baffles me why anyone would want to restrict their journey through all this wonderful music, to 3 or 4 pieces a year! By embracing both structured learning and personal exploration, pianists can develop a well-rounded skill set and a lifelong love for music.

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 As the new academic year gets underway and students return to lessons after the long summer break I often ask myself why some students see the long break as an opportunity for more practice and why others see it as quite the opposite and without regular lessons, see the opportunity for a total break and then return feeling nervous and frustrated at their playing which inevitably feels rather rusty.

Having given this a lot of thought, and of course, taking into account the pressures on young students with school work etc, I still feel that behind these differing approaches is perhaps the business of ‘knowing your why’ in relation to piano playing. What drives you, why do you want to play, what pulls you to the piano to practice, or alternatively, what turns you off practising?

In the world of piano playing, the question ‘What is your why?’ is more than just a motivational prompt; it’s a gateway to deeper engagement and fulfilment with the instrument. Understanding your personal reasons for playing can transform your practice sessions, performances, and overall experience at the piano. Here’s how exploring your ‘why’ can elevate your musical journey.

The Importance of Knowing Your ‘Why’

Your ‘why’ is your core motivation—the driving force behind why you sit at the piano each day. It could be a desire for self-expression, a quest for technical mastery, or a love for the rich emotional language of music. Identifying your ‘why’ helps you set meaningful goals and overcome challenges with a sense of purpose.

1. Clarify Your Goals When you know your ‘why,’ setting goals becomes more intuitive. If your motivation is to express emotions that words cannot capture, you might focus on interpreting pieces with emotional depth. If your aim is technical prowess, your practice might revolve around challenging compositions that push your boundaries. However, one cannot really exist without the other, we need  a solid technique in order to be able to play expressively.
2. Overcome Challenges Every pianist encounters obstacles—be it technical difficulties, performance anxiety, or a plateau in progress. Your ‘why’ can provide resilience. For instance, if your purpose is to connect with others through music, the discomfort of performing might be easier to navigate, as it aligns with a greater, more rewarding goal. If you are working with a teacher then they will be able to help you with any challenges you encounter.
3. Deepen Your Connection to Music Understanding why you play can deepen your connection to the music itself. If your ‘why’ is to preserve and share a family tradition, you might find a richer meaning in playing pieces that have personal significance or in exploring the historical context of certain compositions. Choosing repertoire will be of great importance and as pianists we are so lucky that the repertoire is so vast. Again, a good teacher can help you to select repertoire which will meet your needs and be of an appropriate level for you at each step of your journey.
4. Enhance Your Practice Effective practice is a huge part of any piano journey, knowing how to approach challenging sections and what to focus on is something a good teacher will be able to help you with.  A well-defined ‘why’ can also improve your practice sessions. Knowing your purpose can guide how you approach each practice session.

Reflection and growth as a pianist

Discovering your ‘why’ is an evolving process. It might change over time as you grow as a musician and as an individual. Regular reflection can help you stay aligned with your core motivations. Ask yourself periodically why you are drawn to the piano and how your goals and aspirations have shifted.

Conclusion

In essence, your ‘why’ is the heartbeat of your piano journey. It’s what makes your musical endeavours meaningful and fulfilling. Whether you’re playing for personal satisfaction, to communicate with others, or to master the instrument, understanding your core motivation can lead to a more enriched and purposeful musical experience. So, take a moment to reflect on your ‘why’ and let it guide you through the highs and lows of your piano playing journey.

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It remains a great mystery to me why so many students don’t pay attention to performance instructions and details of phrasing and articulation; it is most definitely not due to lack of my drawing their attention it, explaining why it is so important in bringing the music alive, lifting the notes off the page and turning them into music of the style/era/genre and realising the composer’s intentions.

I must admit I remain completely baffled as to why week on week I find myself repeating the very same words regarding attention to the score.

I am an incredibly patient person and teacher, but I have to say that this is something that really frustrates me and has me silently weeping into my coffee! I wonder how many other piano teachers out their experience this and feel the same way, if so, I would love to hear your comments and thoughts.

I am a very thorough teacher, I am incredibly keen that my students understand the style, genre, harmony, musical detail  and meaning behind any piece they are learning/playing, this is why I have a strong aversion to learning by copying YouTube videos, to really play well, we need to understand the meaning behind what we are playing, we need the context of the piece in the repertoire, we need to understand style, we need to understand harmony, direction, form,  and we need to hear and understand phrasing and articulation.

I work on these details both at the piano and away from the piano, I explain, I ask questions to ensure students have understood and I demonstrate, and yet week in and week out I find myself explaining drop slurs, phrase endings, metre, the difference between staccato and non legato. I ask students to record themselves and listen back with the score in front of them, to observe aurally and visually, to be their own teacher in the practice room.

Without attention to all performance directions, phrasing, and articulation, we are simply playing a bunch of notes with no musical meaning.

What is behind this lack of attention to detail I wonder; I don’t think it’s forgetfulness, because I remind, I write notes, I get students to write their own notes…

Is it that in this world where everything is ‘on demand’, available at the tap of a screen, that people have become less observant to what they are seeing in front of them, or that in this fast-moving world where everyone wants to achieve quickly, that the time and the discipline necessary to work in detail is simply not happening?

Is it that despite all attempts to encourage effective practice, it often doesn’t happen and the old habits of playing from beginning to end with a brief moment of going over tricky passages but without real engagement, come to the fore?

Or is it that, many students are doing too many activities and therefore just rush through their practice?

Whatever the reason may be I am on a mission to ensure that students really do understand why they cannot just ‘play the notes’.

Have you tried anything that really helps with this, do you have any thoughts on this? Do you have similar frustrations?

If you are a piano student reading this then please do take the time to really notice what is in the score, it will really transform your playing.

I may be having a little moan, but it is purely because I am so passionate about both the music and the students.

The post It’s All in The Details-Following the Score appeared first on Lorraine Womack.

Performing in a masterclass gives pianists

an opportunity to perform to an audience and to someone who is not their regular teacher; a different pair of ears and perhaps a fresh perspective can be really insightful because there is no one way of playing a phrase, of breathing life into the music, nor of trying to get past nerves in order to play as beautifully and expressively as you possibly can.

A masterclass is not really the same as having a lesson with another teacher; you will arrive with a work already prepared, the tutors are not there to give conflicting advice or to poach students, they are there merely to offer a fresh pair of ears and perhaps an additional insight into the music being performed.

After all, we often listen to many different interpretations of our favourite music, there is no definitive interpretation, just one that speaks to us personally, one that we may prefer. It may be the touch and tone, it may be the way the phrase is articulated, the breath and the space between the phrases, the voicing; there are so many possibilities in each interpretation, and therefore attending a masterclass and having a new and perhaps slightly different perspective, rising to new possibilities and challenges in front of an audience, offers the performer an opportunity to give deeper consideration to the music.

It may be that as a performer, you decide after some thought, that actually you prefer your initial interpretation, however having the opportunity to hear, think about and work on your piece in a slightly different way will only inform your playing and perhaps stegthen your convictions regarding your interpretation and musical intentions.

In the hands of experienced and empathetic tutors, this can only be a wonderful shared learning experience.

For the observer a masterclass can be an equally rewarding experience experience. Perhaps on this occasion you are not feeling quite confident enough to perform, but you will learn so much from watching and listening to other performers giving their performances, receiving their feedback and watching them apply new ideas, hearing their performances come to life in new and different ways.

There may be many relatable ideas that you can think about in the music you are working on.

For parents who are observing, it will give great insight into how your child needs to be working on their music.

For the ‘rusty’ pianist observer in the audience who is thinking of returning to the piano after a break, we do hope to inspire your love of the piano again.

Other piano teachers are most welcome to come

and observe too, and we hope that with our combined experience of more than 60 years of teaching we will inspire and enthuse, we would love to have your feedback and will be very happy to talk to you during the breaks.

Most of all we hope to offer a joyful and inspiring experience to our performers and audience, one  which will leave you itching to get back to the piano and try out new ideas.

To book please click the link below:

https://www.eventbrite.co.uk/e/piano-masterclass-with-pianists-dr-michael-low-and-lorraine-augustine-tickets-777621174867

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If there is one thing which I find really frustrating as a piano teacher (and yes, it is okay to admit that!), it is the sort of ‘blindness’ to the score markings, in particular articulation.

I am not sure where this ‘score blindness’ comes from, I certainly ensure that my students understand the importance of paying attention to all performance directions, however, I still find myself repeatedly reminding students to pay attention to the articulation in particular.

I know there are many different approaches to learning a new piece, but my own belief is that it is really important to learn it musically from the start, with attention to detail, I am not a fan of the ‘learn the notes first’ approach, experience tells me that our ear then begins to hear a phrase a certain way and then it is hard to ‘unlearn’ what we have heard. For me, attention to detail from the outset is paramount.

I am fascinated and curious to learn then, why so many students just do not do this, despite repeated reminders. I think it may come from them not being able to resist the urge to ‘play through’, again this is something we discuss in lessons, however what happens in the practice room is often very different to what we may have advised our students about quality of practice!

I wonder also if it comes from not enjoying the process of practising; I personally love the entire process of unravelling a score, absorbing every detail and bringing the composers intentions to life, really getting inside the music. I think if one does not enjoy this process then it will perhaps always be the case that details get missed as the objective in that case is to learn it as quickly as possible, however, if one has paid careful attention from the outset then the end result will not only be more accurate musically and stylistically, but the arduous task of correcting inaccuracies will not be needed.

I am most interested to hear from other teachers what methods they employ to ensure that students really do observe the details in the score, and whether they encounter this type of ‘blindness’ to articulation in particular.

Articulation is of course about ‘how’ we play the notes, and for me this is of equal importance to ‘which’ notes we play.

Attention to articulation ‘lifts the notes off the page’ and turns what would otherwise be some sort of monotone phrase into music.

I am curious as to whether there is some link with the lazy way people often speak and the lack of attention to grammar.

When discussing articulation if I demonstrate the difference between playing with and playing without the correct articulation, students can always hear it, therefore does this mean that they are not listening to their own playing as they practice?

It is fascinating that students who play other instruments or who sing, often really pay attention to bowing and to breathing and can hear the difference that these make to their phrasing, and yet have not related this to their piano playing. I had a discussion about this during a lesson this week with a new student, an advanced piano student who is also a string player and he had not made the correlation between the two things at all and said he had always felt that the notes are already there on the piano and therefore the sound and the effect cannot be changed, he had a completely different approach to his string playing. I wonder if some of this is because with string, woodwind, brass, voice, the listening process to hear the notes you are making is more acute and perhaps these students listen differently, or less, to their sound at the piano.

This leads to another question, how many piano students are singing in their head as they play, I am always astounded by how many tell me they are not! I draw their attention to their sports, ask them to think about what they might do if they are going to take a penalty kick for example, would they just kick the ball with absolutely no intention of thought about where they want it to go? Of course not, there is always a plan, a thought process which happens just before the ball is kicked, why then can this logic not be applied to their piano practice? Surely, we need to hear the sound we want to make in order to actually make it. This applies to tone production as well as articulation, there are so many possibilities with tone production and the tone we want is very much related not just to era and style, but also to harmony, phrasing and articulation.

It remains a mystery to me why this is so often ignored, I have of course, asked the question, ‘I just forget’ is usually the answer, or ‘I just wanted to learn the notes first,’ but ‘why’, is my question, and as yet I still do not have an answer which makes much sense to me.

Articulation is about playing with intention, the composer’s intention (if you have a good edition of the score) and is of course, often related to musical style/era, genre, we do not play Mozart in the same way we would Rachmaninov, the writing is not the same, the texture, the voicing, the harmonic language.

I do believe that some of this lack of attention to detail comes from everything being easily accessible at the touch of a button today, and perhaps of the way of language and speech are changing, but I also think that some of it comes from not listening-by that I don’t mean in lessons, I mean to oneself; but I also mean listening to lots and lots of music of many styles, eras/genres, going to concerts, listening at home (there are certainly endless means of doing this today) and listening actively, not passively.

I wonder also if in this world where we are constantly bombarded with noise from so many forms of media, if many people do not now listen with intention, listen actively.

Silence is a wonderful background for listening, as Debussy is often quoted as saying, ‘music is the space between the notes.’

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