Piano Tuition West London

Posted on 18/09/201404/12/2022 by WLPT

“Do not deny the classical approach, simply as a reaction, or you will have created another pattern and trapped yourself there” Bruce Lee

I firmly believe in combining the contemporary side of piano playing with the more traditional style of music teaching. I personally feel that lack of attention to either side leads to incomplete development as a musician. My piano tuition practice in Notting Hill, West London is dedicated to introducing students to material and techniques that’ll give them the best grounding possible for becoming accomplished musicians.

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Studying for the ABRSM (Associated Board Of The Royal Schools of Music) exams is a helpful background for musicians who want to have a gauge for the standard they are at. Working towards these is one of the ways we can ‘up our game’ too in our technical playing. But it’s also my opinion that the ability to improvise and reproduce a piece of music aurally (for the purposes of learning) is crucial for every performer if they wish to express their own musical character. Bach, Mozart, Liszt, Chopin, Beethoven and many others were famous for their abilities at improvisation – a point often forgotten in traditional classical methods.

My lessons look at both sides of the coin, using popular contemporary pieces to achieve the kind of rhythmic, harmonic and melodic dexterity not always available from the classical repertoire. Significant time can also be given to study of the jazz repertoire and work with chart-reading (‘real book’) and improvising.

For a student to attain ‘master’ levels of dexterity such as Oscar Peterson, Cory Henry, Hiromi Uehara and other performers at their level, the serious piano student can be pointed to studies such as Hanon, Beringer, Czerny and Oscar P himself. Composers like Chopin, Liszt, Schubert and Bach also provide some challenging finger work, exercising the hand in unique ways that are of invaluable help to those aiming at becoming master pianists. We also look at transcriptions of solos by master jazz players such as Keith Jarrett, Bill Evans, Herbie Hancock, Kenny Kirkland, Chick Corea etc, studying their harmonic and rhythmic language and formulating ways of using their styles to inform our own playing.

If this hybrid approach is one that appeals to you, why not arrange a no-obligation informal chat to discuss your aims, experience, likes and dislikes?

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Improvisation On The Piano

Posted on 29/05/201408/11/2019 by WLPT

Teaching improvisation – is it a dying art?

I had an enquiry recently from a potential student who wants to learn improvisation on the piano, asking me to help her ‘prepare an improvised piece’! I chuckled as I explained how these two terms contradict each other, though I added that I could prepare HER for improvising the piece.

It’s now the 21st century, yet too many music teachers are missing out this hugely important part of students’ musical development. Improvisation on the piano has somehow been lost in the modern ‘classical’ curriculum. It wasn’t always like this – notable composers such as Bach, Mozart, Beethoven, Brahms, Schubert, Liszt etc were known for their great skill at improvisation at the piano.

So how have some classical teachers stopped developing this art? As a session musician working in recording studios and on stages around the world, I know that one of the most important skills to have is improvising. Many notable performances on contemporary jazz and pop albums are entirely improvised and it is this skill that often marks out musicians as ‘first call’ players. Of course technical dexterity is important, but practically anyone can acquire this.

Improvised music could be said to be the pure musical spirit of the individual – it is this side of musicality IMHO that takes the most significant effort and deepest understanding to achieve and it is this that truly makes someone a musician of great worth.

If you would like to talk to me about improvisation on the piano and how it’s built into my lessons, please feel free to contact me.

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Top Tips for a Career In Music.

Posted on 10/02/201304/01/2018 by WLPT

An old school friend recently asked me for my thoughts about her son studying for a career in music in 2013. This is a series of blogs based on what I wrote to her….

How do I stand out in the crowd?

EVERY young person I know wants to be in a band. We know this because now every other TV advert is aimed at budding ‘musicians’. Empires are being built on the hopes of these young people, who have been promised a short cut to stardom. As a result, everyone now wants to be noticed, whether they merit it or not – resulting in a massive amount of content now on sites like You Tube, Facebook etc.

Yet some genuine talent is still out there if we care to look hard enough. The key to being noticed in a world overflowing with content is having something unique and of great quality to offer, so that you’ll get noticed when that rare opportunity arises. How is it possible to achieve this?

I believe this: only by giving ourselves every opportunity to learn all we can about our chosen field/instrument, will we be able to compete with the hoards of others who are all striving for the same thing. Knowledge is power, as Francis Bacon once said. For this reason I’m an advocate of higher education, because it gives us more CHOICES.

Qualifications vs Experience

Now it’s true that many of my successful colleagues in the business don’t have a degree or performance diploma. What I would add is that they are now very limited for choices, because now we’re all older and the business has changed, there’s very little work of the kind they prepared themselves for and a great many players are all vying for it. More every year, as each music college and ‘tech’ in the country empties out a fresh batch of talented, young, enthusiastic and ambitious players.

I’ve been lucky enough to be able to fall back on the education I had at music college, renewing my acquaintance with orchestration, composition etc, as well as using the essential skills I’ve picked up running a commercial recording studio for 20 years, all adding up to an extra string to my bow in TV and production music. This has been a life-saver during the down-turn in sessions and has substantially supplemented my income, to the extent that I now wish to explore this avenue further. Educating myself continually throughout my career (learning from friends & colleagues at work, reading trade mags, visiting forums etc, it doesn’t always mean obtaining written qualifications) has given me choices and an edge over my competitors. And it’s fun and keeps me excited about my work!

Whatever your passion and talent (trying to be realistic about whether you passion IS in fact, your talent), immerse yourself in it to become the absolute best you can be, whether that means a degree, masters or just pure hard work and experience (many successful producers started as tea boys in major recording studios – although those positions are very rare now).Taking advice from professionals in the business can often help, but ultimately you are the one who has to make the decision and live with it.

Remember, there is NO short route to the top. Having the ‘X Factor’ is actually all about having the staying power, the focus, the consistency and the willingness to work as hard and as long as it takes to reach our goals.