This is a rather lengthy topic that is near and dear
to my heart. So as not to make it one long and unreadable post, I have divided
it into several smaller sections. Hopefully, this will help me to represent a
multi-faceted approach to piano pedagogy. For anyone who follows this series
through to conclusion, I want to encourage you to try these unconventional ideas
out. Give them time to mature in your students. I invite you to join me in my journey to becoming a “process-oriented”
teacher.
One
of my favorite books to read as a child was C.S. Lewis’ The Lion, The Witch, and The Wardrobe. For those of you who recall
this book, in the chapter where Aslan, Lucy, and Susan are in the witch’s
castle, Aslan is restoring all of the creatures whom the witch had turned to
stone. One of these creatures is a giant. Aslan simply breathes on this giant’s
feet and remarks, “Once the feet are put right, the rest of him will follow.”
Whenever I think about this topic of a pedagogy based on the person as a whole,
this quote pops into my head. Of course, I would modify it to say that once the
body is set right, the technique and musical artistry will follow.
I
have had several people openly laugh to my face when I have discussed the idea
of “musician wellness”. They seem to have the impression that such a term
implies a prioritization of “feeling good” over making artistic music happen.
Let me assure there is nothing further from the case. Musician wellness is the
total mental, emotional, and physical well-being of the musician.
Unfortunately, we teachers do not control a large portion of this in our
students’ lives. This is where living as an example is very important. Taking
care of our bodies through healthy eating habits and moderate exercise. Taking
care of our mental health by surrounding ourselves with positive influences;
not just people who make us feel good about ourselves, but people who make us
genuinely better people. Our students learn so much just by observing us in the
30-60 minutes a week that they see us.
We
begin with the body because it is the house for all of the physical, emotional,
and mental processes that occur. If this house is falling apart, these
processes cannot happen at their maximum potential. And if these processes are
happening below maximum potential, then music cannot be produced with ease or
full artistic potential. Some causes of operating on such a level include: 1) misalignment of any part of the skeletal structure, but especially back/neck and forearm/wrist/hand; 2) an excess of muscular tension; and 3) specific to the piano (or other instrument), generally inefficient technique and poor use.
We
begin this journey by seeking out multiple
disciplines which focus on bringing the body into realized maximum working
potential. We must keep in mind that we are humans, and therefore will never
have “perfectly” functioning body. There will be certain days, or times of
days, that will be better or worse than others. And it is because of these "down" days that it is especially important to have the knowledge of how to "reset" ourselves physically and mentally, so that we are able to function our best for the given day.
One
of the most obvious solutions, so obvious that we will not spend a great deal
of time discussing it, is to rethink our practice strategies and methods, based
on incorporation of the other disciplines which will be discussed in detail in
the following posts for this series. One skill which students need to learn is
that of score study; not just analysis for the sake of memorizing, but seeking
out the true musical meaning behind each note. I am always telling my students
that there are not unimportant notes: only important ones, more important ones,
and most important ones!
Another
strategy which is important to teach our students is the power of the pause.
Our students seem to have an idea that a 30 minute practice session must
involve notes sounding from the beginning to the end of the session. They must
be taught not to mindlessly repeat and drill, but to stop and analyze: “What
went right, and how do I make it happen again? What went wrong, and what do I
need to do to make it right?” A simple 10-15 second break in which the student
thinks through what just happened is invaluable.
We
must not teach our students to “build up endurance”. Mrs. Dorothy Taubman,
whose work will be discussed in great detail in two weeks, used to say,
“Endurance is a repulsive word. It’s abhorrent. How are you supposed to
interpret music when you are simultaneously trying to endure it?” Remind your
students to give the body and mind frequent (if short) breaks. In this same
vein, students should practice with the intent of making music happen. Students
are often so focused on getting the correct notes, fingerings, and rhythms that
by the time they accomplish these, they have no desire to make music (see this post on how to make both happen faster).
We
must remember that often the solution for which we are looking is to not sit at
the piano. We must be willing to explore options outside of what we find
familiar. We have to research the
outside disciplines which we find. Most importantly, we must have patience with
ourselves and with our students. What I am going to suggest will, in many
cases, call teachers to both relearn how to play and how to teach. And that
relearning takes time.
As I
conclude this introduction to the series, I want to challenge piano teachers
and students alike to test their musical experience by asking a question which
uses the words of one of my favorite authors, Madeleine Bruser, in her book, The Art of Practicing. Are your practice
and musical experience “the overflow of joy and vibrant curiosity from a
healthy and fulfilling life”?
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