Daring Greatly: How the Courage to Be Vulnerable Transforms the Way We Live, Love, Parent, and Lead by Brené Brown, Ph.D. LMSW

For piano teachers and students alike, there are many situations that make us vulnerable. Lessons, recitals, auditions, and teaching are a few of the many arenas we may find ourselves in. If you have ever felt afraid and thought that you are not good enough, I highly recommend this book. 

This non-fiction, research-based psychology book teaches assertiveness, taking risks, and having courage. Brené Brown, Ph.D LMSW presents her extensive original research in shame: an overwhelming emotion with which many of us have suffered at one time or another. It is a subject that we often try to avoid. The purpose of Daring Greatly is to encourage people to take risks, especially in the face of possible failure. 

Dr. Brown points out that many of our critics are not "in the arena" with us, they are on the outside and are often projecting their shortcomings on us. She describes the scarcity mindset, characterized by "never good enough," and contrasts that with the abundance mindset. Her practical recommendations for adopting this new mindset are clear and life-giving. 

I learned that failure is necessary to one day be successful. I learned that what I create is not the same as who I am. I learned that I am not the sum of prizes and accolades I have collected from other people. 

I'm finding joy in playing piano and teaching that I didn't have before.  The love of music and curiosity that drew me to piano in the first place is back and I feel freedom to continue to learn. I have also written new music and entered competitions. Rather than stopping myself because I might not be good enough, I decided it can't hurt to try it out. I've had disappointments and hurtful words from professors in the past that I carried on my shoulders for over a decade. When that happens, why even try to improve? But by not taking their words personally, I have found that I have been able to thrive in ways I never imagined. 

Dr. Brown's tone is humorous and colloquial. Her personal anecdotes are descriptive and realistic. Reading each personal story felt as though I was present in the scenario. (As a note, she does use profanity occasionally, so if you are sensitive to that form of language, please be forewarned!)

Some of my favorite quotes from this book:

"You know that you are far more than a painting, an innovative idea, an effective pitch, a good sermon, or a high Amazon.com ranking." (page 64)

"I have never heard one person attribute their joy, success, or Wholeheartedness to being perfect." (p. 128)

"Daring greatly is not about winning or losing. It's about courage." (page 248) 

I encourage you to read this book and I hope that you find it to be transformative. 

What books have helped you?

-Jenny

After a confident and amazing recital presentation, my student suddenly decided she didn't like piano as much anymore. I had assigned her an original piece and a simplified version of Fur Elise over the summer and she felt as though they were too difficult, despite playing them for me with a high level of accuracy and understanding of the music. 

I was worried. Having shown amazing work ethic and commitment to musicality, was this it? Was our time together coming to an end? How could I reengage and help her joy to return? 

Well, I didn't do anything! But after leaving her piano books at home during a vacation, her motivation and drive returned! 

What I learned: it's okay to take extended breaks from the piano. Especially after spending so much concentrated time to get to this level!  Now, we are working on some Faber Popular and Rock 'n Roll books. We're also doing some rote pop chord progressions. I'm super excited for what this year will bring with the renewed energy and excitement! 

Have you experienced any student breakthrough discouragement? What did they need? 

-Jenny

August 22nd is Claude Debussy's Birthday! 

So how can you celebrate?

🌊 Listen to Debussy play his own compositions. 

🌊 Listen to my mashup of Clair de Lune and Happy Birthday To You. 

🌊 Sight-play an "easier" piece such as Rêverie or Page d'Album. 

 
🌊 Choose a Debussy piece to start learning as a repertoire piece. 

• Here are my personal suggestions!
• Arabesque No. 1 in E Major 
• Rêverie 
• Prélude from Suite Bergamasque
• Clair de Lune from Suite Bergamasque
• Doctor Gradus ad Parnassum
• La Fille aux cheveux de Lin 
• La Cathédral engloutie - I think I will begin learning this one. 

🌊 Listen to La mer.

🌊 Watch Carolina Kostner skate to Prélude à l'après-midi d'un faune.

🌊 Go for a boat ride. 

🌊 Visit The Art Institute of Chicago to view paintings by Claude Monet. 

🌊 Read poetry by Paul Verlaine and Stéphane Mallarmé.

Clair de Lune by Paul Verlaine

Your soul is like a landscape fantasy,
Where masks and Bergamasks, in charming wise,
Strum lutes and dance, just a bit sad to be
Hidden beneath their fanciful disguise.

Singing in minor mode of life's largesse
And all-victorious love, they yet seem quite
Reluctant to believe their happiness,
And their song mingles with the pale moonlight,

The calm, pale moonlight, whose sad beauty, beaming,
Sets the birds softly dreaming in the trees,
And makes the marbled fountains, gushing, streaming--
Slender jet-fountains--sob their ecstasies.

Apparitions by Stéphane Mallarmé

The moon grew sad, and weeping seraphim,
Musing among the vaporous flowers aswim,
With slow bows from the sobbing viols drew
White tears that sank in their corónals blue.
It was the blesséd day of your first kiss.
My reverie, eager with new miseries,
Was all a-swoon with perfume of shy grief
That leaves the heart to gather its own sheaf,
And frets not, nor yet sickens of its prize.
I wandered, and the worn way held my eyes
When in the street I saw your sun-girt hair
And you all smiling in the twilit air.
I took you for that elf who, crowned with beams,
Once passed before me in my childish dreams,
And shed white posies of sweet-smelling flow’rs
Star-like for tiny hands in snowy show’rs.

🌊 Learn musical terms in French.

🌊 Read Edgar Allen Poe, especially The Fall of the House of Usher. Debussy was working on an opera based on this work. 

🌊 Read a biography about Claude Debussy. 

What are some of your own ideas to celebrate Debussy's birthday?

-Jenny

Finding a New Guide

My goal was to get a bachelor's degree in music. I was sixteen and I needed a serious college-prep teacher as soon as possible. Once again, the studios in my area were full. It seemed that no one would be able to take me on. 

But then one summer day my mom got off the phone with one more piano teacher recommended by a teacher who had a full studio.  I set up an audition with her. 

I remember pulling up to the one-story stone house with three gables. Walking inside, I took my shoes off and walked on the plush white carpeting. Ahead of me was a shiny black Yamaha grand piano. The living area was spacious and looked like a museum. Diana Turner was a middle-aged woman, married with no kids, hailing from England. She had short, straight, sandy blonde hair. Her aristocratic accent and cultured demeanor were exactly what one would picture to be a great piano teacher. 

I sat down at the grand piano; a stark contrast from my chestnut Acrosonic spinet. The keys were wider and heavier and the pedal was stiffer. I think I may have prepared Moonlight Sonata or Für Elise for her. I played a few scales and arpeggios and I told her I would like to be a music major at the state university. At the end, she looked thoughtful and said she would take me on as a student. 

A Long Way to Go

The practice expectations were a lot to handle. 2 hours a day! Although I knew 4 octave scales, I needed to speed them up.  What are chord progressions? Much of our lessons were spent picking repertoire and marking in fingerings. I distinctly remember the way she would say, "Right." She had a hesitant, skeptical tone most times to my comments. I believed that I was unintelligent because of this. 

My state had an examination system very similar to the Royal Conservatory of Music and Mrs. Turner determined that I was Level 7 or late intermediate. I began working on classical music very heavily and realized that I was discouragingly behind in understanding music theory. In May, I would take the Level 7 exam and I had a lot of work to complete in order to be ready. 

An Unexpected Journey

On a cold day in November, Mrs. Turner drove me and another student to the state university, the very same to which I wanted to earn a music education degree. She was taking me for a lesson with her teacher, Dr. Ratigan. What an opportunity!

The early snow was patchy on the grass, melting a little. I was nervous during the one hour drive on the interstate. I looked out the window at the trees. Sitting in the front seat, I had very little to say. Whether it was my accent or my word choice, I rarely felt as though my small talk or comments were received well by Mrs. Turner. I don't remember much other than trying to be on my best behavior, hoping to make a good impression, and getting lost in thought as I looked out the window.

This was a school I was considering going to for most of my life. Many members of my family attended this university going back to my great-great-grandfather, a first-generation Irish immigrant, who studied agriculture. While I was planning to send in applications for many schools, I thought it was fortuitous that my new piano teacher had connections with this university. I could get an orientation to the music school and create a contact.

Upon arrival, we walked through the Student Union. It was a massive food court and study space. The wide-open, grassy campus was beautiful and I felt instant excitement that this could be my future school.

But then we visited the practice rooms. I will admit, I was very disappointed by the set up. It had an unwelcoming, cold, concrete interior. It was dark and extremely loud with reverb; devoid of carpet or sound panels. The pianos were decrepit uprights. I warmed up my hands by playing scales, but I was unimpressed, especially since my ears were hurt by the loudness and my fingers were still stiff from the lack of heat. The pianos were tinny and in desperate need of a technician. 

Memories Like Photographs

Dr. Ratigan was a stern, gray-haired women; tall and intimidating. I wanted to create a good impression, but I felt timid and nervous. I brought to her Beethoven's Sonata in G Major, Op. 49, No. 2 and Valse Mélancholique by Rebikov in Bastien's Piano Literature, Book 4. 

Typically when I felt nervous, much of my ability to emote evaporated. On top of that, my technique from playing my Acrosonic at home was not sufficient for her Steinway baby grand with the stiff keys and pedals. I didn't have a chance to warm up. 

Immediately her feedback was that my fingers were not pressing into the bed of the keyboard and my pedal was sloppy. I was not getting completely to the floor or lifting clearly. My dynamic contrast was non-existent.

I felt my cheeks getting hot and red. This always betrayed me; embarrassment is so obvious on my face. Playing through the music with her watchful eye and quizzical expression was difficult. This was a far cry from the pleasant experience I had pictured. I was really looking for helpful feedback on what I could work over the next year before my audition. Instead, I felt like a complete fool for coming to this lesson at all.

"Do you know how many diminished 7th chords there are?"

My lack of theory knowledge was completely exposed. 

"12?" I asked sheepishly. 

The correct answer was 3 and she didn't hide her amusement at my ignorance.

"How would you describe the emotion behind this piece?" She asked about Valse Méloncolique.

After an excruciatingly long pause, with my brow furrowed and my mind racing through all the possible adjectives, weighing the possibilities of her response, I croaked out, "Wistful?" 

"Wistful. Huh. And what does wistful mean?"

I don't recall my response, but I was stung by her dismissal.

Why, oh why, did I say crochet?

At the end of this lesson, completely battered and fried, she asked me if I had any hobbies. I honestly hadn't crocheted much more than a dish towel, but it was all that came to mind.

"Crochet," I offered. 

I had taken the bait. 

"Well, maybe if you like doing things with your hands, you should crochet instead. And maybe piano is more of a hobby for you. If you want to be a music major, you have a lot of work to do to prepare for your audition."

I can't remember what prompted the following final comment from her. Perhaps it was my history of starting piano at age 10 and I was largely self-taught.

"I was concertizing at age 11," she boasted. And that was that.

Hindsight is 20/20

Looking back on this whole situation, I wish I had respected myself and not auditioned for this school. Yes, many of my music teachers that I respected earned their teaching degrees at this school. I thought this was where I needed to go. But this treatment was uncalled for and horrendous. Had I been secure in myself, I would have dismissed her rudeness and realized this attitude was her problem, not mine.

It Followed Me Home

I have had many piano lessons, positive and negative, and this one is forever seared in my mind. Why is it that we dwell on the negative events in life and disregard or minimize the positive ones? Why was a I so attracted to negativity; wanting so badly to change the minds of those who hurt me instead of following those who believed in me. 

I thrive under positive motivation and seize up with shame-based motivation. Strangely, I vaguely remember my mom telling me that Dr. Ratigan said I was a quick study after she talked to her on the phone. That is the type of memory and evidence I need to remember, and yet it is very foggy when the rest seems so sharp and ready to accuse me. 

The long-term damage caused by this lesson was high anxiety about practicing the piano. I was constantly fearful of not being good enough which resulted in tense muscles, back pain and chronic sadness. The joy I once felt while playing piano was sapped and replaced with intense shame. And all musicality that I might have been developing was stifled for fear that my interpretation was wrong. 

Because Mrs. Turner was her student, Dr. Ratigan's influence continued through my piano lessons following that lesson. A Mozart Sonata I was preparing for the university audition was taken away from me because Dr. Ratigan told my teacher I wasn't mature enough to interpret it correctly.  She said perhaps I could use another year after high school graduation to work on practicing piano before attending the university. I needed to gain more maturity in order to interpret music correctly. Teenagers didn't have enough life experience according to her. I heard this feedback multiple times, parroted to me by Mrs. Turner.

But back then, gap years really were not socially acceptable. I had this nagging feeling that if I didn't do everything young, then I wasn't good enough and I should just give up. 

Seeing In a New Light

Recently, with the help of a therapist, I determined that Dr. Ratigan's credentials and experience didn't make her personal attacks valid. The personal attacks on me actually said volumes about her lack of character. Her deconstructive criticism communicated that, sadly, this was how she was treated by her former teachers, and for that, I pity her. She has to live with her anger and sadness, but I am no longer taking those feelings on as a responsibility. 

As a student, I should have been taught and not ridiculed for my lack of knowledge. After all, we go to school to get an education. We should not be paying thousands of dollars merely for a stamp of approval. 

While I can't erase the past, I can move beyond it and be grateful for the resilience I developed because of it. Despite Dr. Ratigan's comments, I do have a music degree and I am a career piano teacher and regular church musician. I have found success with the piano. Stay tuned for Part 3! There are many more stories I wish to share.

Forging a New Path

I have made a commitment to always provide constructive feedback. I do not personally tear them down. Criticism can always be constructive. I don't cover the entire gamut of mistakes I hear during a lesson.  I find one or two focus points and always have something positive to say. A student was struggling with a piece, but her G major scale was smooth and even as butter. While I helped her out with the feel of the waltz, I definitely made sure to gush about how her diligent work on technique has paid off. She looked so invigorated and re-energized for the rest of the lesson and subsequent ones. Our students have the ability to thrive and we are major players in making that happen.

If you have any difficult memories associated with learning music and feel discouraged, I highly recommend finding a therapist specializing in Cognitive Behavioral Therapy. I believe that it will help you to thrive in music by challenging negative cognitions and rewriting your core beliefs about yourself. I wish you well on your piano journey. 

-Jenny

Aside from knowing how to play the piano yourself, what are ways to start teaching piano? Once you've started teaching, what are avenues for continuing to improve your teaching craft?

Sometimes, all it takes is playing piano in public to be asked for piano lessons. This may take you by surprise or you may have been hoping to get a student, but everyone starts somewhere!

"Will you teach me?"

No matter how you get your first student, you will have questions and maybe some hesitancy to start on this journey. 

Here are 5 steps for beginning piano teachers:

1. Be willing to try and fail.

Believe it or not, failing as a piano teacher happens the moment you decline because of feelings of inadequacy. Failure happens before you even started!  While I can't speak to your specific situation, I believe that if you have put in the time to learn piano; maybe 5 years of consistent lessons, practice, and performance experience, becoming a piano teacher is possible. 

Certainly, if a student eventually surpasses your skill level and knowledge, be honest. You may fit as a practice coach and an encouraging, helpful constructive critic. You may refer this person to a more skilled pianist that you trust or that your student finds. You will cross that bridge when you come to it! 

If you have a desire to teach piano, have confidence to start a beginner who is interested. You have to start somewhere just as much as a piano student has to start somewhere. If your thoughts say, "I'm not good enough," say, "I would like to teach and I am committed to continuing to learn and grow in this skill." Making mistakes is part of the process.  

2. Ask yourself who, what, where, when, why, and how.

• Who? Will you market your studio or just use word of mouth? 
• What? What level? What style? 
• Where? Have a location to meet with a piano, whether that is your house, their house, a music school, or a local church that you rent.
• When? Look at your calendar and determine your availability. Remember to consider prep time and follow up time. 
• You're Big Why: What is your purpose in life? How does teaching piano serve you towards that purpose? What are your goals?
• How? Decide your method series and other curriculum. 

I have written posts about starting up an independent studio: 

3. Create Lessons Plans

Having a list of activities and a general idea of time commitment is very important. 

As you teach, you will find that the student may need extra attention in a different area or even have questions that they would like to explore. Write your plan in pencil; have flexibility. However, you need to have a direction. 

Do not become a "turn the page" teacher. Have supplemental games, apps, worksheets, and activities ready to go. I refer to Joy Morin's Color In My Piano blog regularly as she has created many engaging games and activities (many of them are free to print!). She is a huge source of inspiration to me. I definitely suggest finding teaching blogs that you are drawn to and consulting them regularly for relevant activities and new teaching ideas.

4. Familiarize yourself with the method.

Have your own copy of all the books you are planning to use. 

Read through the table of contents and all of the concept pages. Use these as springboards for supplemental games and activities to reinforce. You don't need to go in order and you can present ideas sooner than the book. That way your student will be ready for future challenges in their music as it incrementally gets harder. 

Play through all the music and spend time practicing any songs that are difficult for you. Write down how you learned the pieces and think through your approach. What are the patterns? The form? What notes need to be reviewed? What articiulations are present and what technique do you use to create those articulations? How will you teach this to someone else?

If you are using a no-book method or passing down a skill by demonstration, such as playing pop chords or in the jazz style, have a structure and outline of how and when you will present new concepts incrementally. Have a list of songs you will teach and any reference materials that will be helpful for the student printed and attached to follow up lesson notes.

I use a spreadsheet where I write which pages I will assign, what concepts we will cover, and what activities tie in.  Doing this in one large batch gets the hard part of brainstorming out of the way early.  When lessons come, I can refer to my chart and plug those into my lesson notes. 

5. Lesson Structure

Keep your introductions short, try to avoid long conversations that are off topic. Every situation is different, but avoid spending more than 5 minutes catching up.

Be open to a student opening their book to show you their progress. If you would like to encourage a more spontaneous day, ask "What would you like to show me first?" or "What topic or skill would you like to work on today?"

As the student is playing, avoid looking at the music score. Instead, watch their hands, body movements, flexibility, and relaxation.  Give constructive, positive comments.  Avoid reacting to each missed note. Instead, find a way to communicate how to be expressive with music.  

Oftentimes, students will tell me it was perfect at home, but in front of me it's not.  I do whatever I can to help my students feel comfortable, but I always keep in the back of mind how hard it is to play for someone who knows what the music is supposed to sound like. You will be able to tell if they worked on it. If they did, have stickers ready! Find something that sounded great to comment on. Demonstrate a way to vary the dynamics or articulation.  

After the lesson, type up your notes, detail the assignments, and email them to your student. 

Bonus: Have a sticker book

If you are still unsure about teaching because you don't know if your student will like you, make a sticker sheet collection and make a prize box.  Their eyes will light up, I promise. 

-Jenny

Do you remember Christmas in July? TV networks would air all of their Christmas specials in the middle of July and I remember distinctly the suggestion to make peppermint ice cream sandwiches while we watched. 

In my studio, Christmas in July means that it's time to get out the Christmas books and pick pieces and songs. I start this week on July 19 and end on July 25. 

Is it too early? Actually, no. By the time the holidays come up, there is simply not enough time to learn Christmas music for our winter recital and celebrations with family and friends. 

This year, I decorated my studio with a wreath and put little Santa hats on two of my little plushies. 

Requests so far have included Sleigh Ride, The Holly and the Ivy, Silent Night, and O Little Town of Bethlehem.  I have two more lessons coming up during this week, so I will update with the rest! 

Books and sheets I currently own:

• Sleigh Ride
• O Holy Night (High Voice)
• You're a Mean One, Mr. Grinch
• Faber Supplemental Series Christmas books - solos and duets, especially Level 4 solos
• Faber Supplemental Series - Classical Level 3A-3B - Dance of the Sugar Plum Fairies
• George Winston Piano Solos - The Snowman and more
• Peanuts Illustrated Songbook - This contains transcriptions from A Charlie Brown Christmas

Christmas albums (and specific tracks) I love to listen to: 

• Mannheim Steamroller Christmas
• A Fresh Aire Christmas
• Christmas in the Aire
• A Family Christmas by John Tesh - Carol of the Bells
• Kenny G Miracles: The Holiday Album
• A Charlie Brown Christmas
• Home Alone soundtrack
• Winter - George Winston
• Linus & Lucy - George Winston - Skating and Linus & Lucy
• Forest - George Winston - Music from The Snowman
• Elf Soundtrack - The Nutcracker Suite by The Brian Setzer Orchestra
• 1996/ Ryuichi Sakamoto - Merry Christmas Mr. Lawrence

-Jenny

On June 3rd, my studio presented our first in-person piano recital. Since I recently opened my own small business out of my home, I only had 2 students for a year and a half, including my 6-year-old daughter. But in March, my current student's brother joined! Then, their mom, who also plays piano, joined us for the performance and we presented a 30-minute piano recital complete with a reception. 

This was my students' first time playing a baby grand piano; up until then, they practiced on my Yamaha digital piano and their Kawai digital piano. I made sure to give them a warm up time to get used to the piano first. I also gave them a pep talk to relax, to know we're all supporting them, and to ultimately play for the Lord and share the joy of music. 

Only my students' family joined us from out of town, but that was okay! I made a livestream using my church's camera and YouTube channel and our long distance family members and guests who were unable to come in person were able to watch!

At the end of the recital, each participant received a prize from my prize box!

Refreshments at the end were provided by my family and my students' family. We had an assortment of cookies and ginger ale/pineapple juice punch. 

I used one of Joy Morin's program templates, which I will link below. 

Here is the program (with last names redacted):

For some reason, when I put Chopin's name in the title of this post, the thumbnail will not show up on my main page. So this should be titled 10 Keynotes of Frederic Chopin's Piano Pedagogy. 

I recently read Chopin: pianist and teacher as seen by his pupils by Jean-Jacques Eigeldinger. Chopin had about 150 pupils in total, which is pretty incredible considering his many compositions and performances; and, he only lived until he was 39. In this book, his students share their experiences and the specific teachings of Chopin.

Here are the 10 most important takeaways that I'm actively applying. 

1. Teaching Hand Shape

Many methods teach beginners to pretend they are holding a ball or apple under their hands. Others mention keeping your fingers rounded, playing on fingertips, and keeping your wrist level.




Chopin's instructions were to place fingers 2, 3, and 4 on the three black keys. Then place fingers 1 and 5 on the black keys. This is your natural hand shape. To play on the white keys only, gently pull your hand towards you and maintain the hand shape.

Forearms should be level with the piano and the wrist needs to stay flexible. In addition to that, he taught that the 2nd finger was the center of the hands; turning my hand out has actually helped with playing his music, but it is awkward to maintain since that is not how I learned.

2. Singing with the Fingers and Breathing with the Wrist

You must sing if you wish to play - Chopin

Chopin was a huge fan of opera singers and specifically the bel canto style of singing. By singing our piano pieces, we can hear our natural tendency to crescendo and decrescendo, to take extra time preparing for leaps, and have a freedom from the accompaniment to push and pull the tempo; an effective way to learn how to play rubato.

Along with singing with the fingers, Chopin also taught students to create the impression of human breathing. He taught students not to lift their hands too quickly and would ask,

Did it burn you?

Legato playing was also emphasized. Playing detached would lead to Chopin asking if they were hunting pigeons.

3. Teaching Rubato

I don't know about you, but when I was taught rubato, the only definition I had was to push and pull the tempo. Listening to interpretations of Romantic music, I would often hear the artist use both hands simultaneously to push and pull the tempo. This sounded great to me! However, my execution often ended up being a cover for my less than stellar sense of rhythm and maintaining an even, steady beat.




How did Chopin teach rubato? He noticed that singers didn't always stick with the accompanist's tempo, therefore his definition of rubato is the melody is free from metrical constraints leading to the artist being able to freely express their feelings.

So, if you thought teaching hand independence was difficult, just wait until you teach rubato for Chopin's compositions!

4. Inspiring Students

Chopin used images to convey emotion. Chopin's own imagery included 

• For legato - avoid a pigeon hunt
• For staccato - think of pizzicato or plucking a string and grazing the key like a fly brushing it with it's wing

I have practically applied this by telling beginner students that spiders can only crawl with rounded legs. Don't be a smashed spider! Use a hammer-like touch for accents and forte, but gently pet a cat to create soft sounds.

5. Playing Pieces for Students

Chopin would play piano pieces, including his own compositions, many times for his students in full. This is encouragement to us to also play for our students! Don't be shy! I think we may focus more on how to get through the method material or marking up the students' scores, but students need to see how technique and expression are applied.

6. Advocating for Shorter Practice Times

Chopin advocated for practice sessions to be no longer than 2 hours a day. He actually was angry with a student for reporting practicing longer than that. Why? Because he was very against being mechanical and he believed practicing more than 2 hours caused the student to lose expression and musicality to exhaustion.

7. Being Self-Taught Is Not a Weakness

I spend time on Reddit's r/piano subreddit. Many users have reported being told that they will have created too many bad habits from self-teaching that a teacher will not accept them into their studio.

I will admit, I was self-taught for my early years. I did have bad habits. I, perhaps wrongly, perceived my high school piano teacher reluctantly taking me on as a student given my patchy background. Why can't we as piano teachers have the patience to help a student sort out bad habits? Are we worried about tarnishing our reputation? 

Chopin was self-taught and his eventual piano teacher was a violinist. See how that worked out for him? A well-respected composer, teacher, and performer, remembered nearly 200 years after his death. Please don't underestimate self-taught individuals.

In my own story, after a failed audition for a university, my dad recalls I was told that I didn't have the expected background of a future music major. When a different college accepted me, I thought it was because they felt bad for me and unfortunately, I carried that sadness for many, many years. I didnt feel as though I belonged and that I was simply given the spot because the professors felt bad for me. Kindness is free. Imagine how a student can thrive if they have your encouragement.

8. Purpose of Technique Books

Chopin was not a fan of training mechanical technique. Technique and expression work together. Therefore, the technique exercises he preferred weren't trying to create a perfect evenness between fingers, but challenging artistry to shine through even the most difficult passages. He actually prized the individuality in tone each finger could produce. We can hear that in his Etudes. They are performance literature for a reason! Practically speaking, Chopin assigned Clementi's Préludes et Exercises and Gradus, Cramer Études, and Moscheles Op. 95 or 70 for technique.

9. Expression over Accuracy

From the earliest levels, I have been drilling this into my students. Better to focus on the dyanmics, articulations, and putting your emotions into music than play robotic, trying to be perfect, and correct any and every mistake. I ask for my students to continue playing despite mistakes, cover the mistake if they are able, and, since we are still practicing the piece, we go back in and work on the problem spot. This is to train them to perform. We all make mistakes when we are performing; develop the skill of covering and the audience will not notice.

10. Finding Joy in Piano Teaching

Have you ever been told

Those who can, do; those who can't, teach.

Ridiculous, I know that now, but I was told by a student that his grandpa said that about me. His grandpa didn't know me, but even if he did, those words are not true. Chopin stopped giving performances due to anxiety about being on stage (another way I related to him!), but I don't think any of us would consider him someone who "can't" simply because he became a teacher full-time. He gave excellent performances of his works to his students. He continued composing. Teaching is an amazing career and rewarding. Don't let someone undermine your accomplishments.

Bonus! Chopin's Curriculum

Specifically lesser known repertoire

• John Field
1. Concertos 1, 3, 4
2. Nocturnes
• Weber
1. Sonatas in C (op. 24)
2. Sonatas in A-flat (op. 39)
• Hummel
1. Rondo brilliant op. 98
2. La Bella Capriciosa, op. 55
3. Sonata in F# minor, op. 81
4. Concertos in A minor and B minor
5. Septet op. 74

In conclusion, I found these points to be so encouraging and helpful for practical applications and for creating a positive mindset. I highly recommend picking up this book. It is priced as a textbook, so I suggest doing what I did: use your library or your library's interlibrary loan service to borrow a copy.

What books have helped you grow as a piano teacher? Please share them in the comments!




-Jenny