Play Piano Today With Dr. J

Posts Tagged ‘piano study

“Returning to serious practicing after such a long time away from it—I mean the kind of practice which attains and maintains virtuosity—I have wonderful decisions to make. I have decided, after very little contemplation, that a return to Bach almost exclusively will be the thing I want most as an opening wedge.

My first thought was to tackle the second book of the WTC, because I’ve learned, or taught, only a few of those pairs of Preludes and Fugues, but I realized that I needed to get back into technical shape first, and the better way was to return to Book One. All of a sudden it seemed very clear to me that the purpose of the first book was to train the player at the keyboard, in the ways of keyboard technique. The first few are the most obvious—this must be where Czerny got his idea of making technical exercises into musical form. I have discussed this with a few other pianists whom I respect, and no one else has thought of this. It’s obvious to me. The most obviously valuable in developing keyboard fluency is the C Minor and the C# Major. There are others, further along in the book, but the next one that comes to mind without a conscious search is Bb major, D Major, D minor, F Major, G major—and it goes on and on. Bach was the first one to discover how the hand fits the keyboard, and to write for it that way.

Book Two of the WTC assumes that one already has keyboard fluency, and here we encounter the artistic triumphs.” Jess Smith


Jess Smith

Jess Smith continues his observations of one of the wonders of worldly possibility — a compelling rhythm in music. 

In an earlier blog post, we discussed the idea of  a “compelling rhythm” which becomes the very substance and source of a successful musical performance at the piano, or the organ, or any orchestra instrument.   Do we, in our more modern and ego-centered world actually tap into an available power of rhythmic flow, or even more finely articulated as the very notes of a performance?

In the late 1970’s there was an American woman who claimed that she could “channel Franz Liszt”, and actually wrote down compositions that were declared by Liszt experts to be in the authentic Liszt style.  Did she simply contact a source of musical substance which could be articulated in the style of Liszt?

A great British Actor, being interviewed for the New York Times after a great success in a play on Broadway, said that “when I’m at my best on the stage it’s as if I’m not there.”[3]   This echoes what great Olympic champions say of their super-human performances.  They rise in the scale of human skill to a point where they say they are “in the zone”—in a sweep of perfect control of body and mind for one highly focused feat of athletic accomplishment.

Tim O’Brien, a member of the U. S. Armed Forces, and  later a writer for the Washington Post,  served in My Lai, and tells of an experience out in the jungles of My Lai[4] when “A six-man patrol goes up into the mountains on a basic listening-post operation.  The idea is to spend a week up there, just lie low, and listen for enemy movement.  They keep strict field discipline.  Absolute silence.  They just LISTEN.  They don’t say boo for a solid week.  They don’t have tongues.  All ears.”  They do this for seven straight days.  “Like you don’t even have a body.  Serious Spooky.  You just go with the vapors—the fog sort of takes you in.  And the sounds, man.  The sounds carry forever.  You hear stuff nobody should ever hear.”  “After a couple of days [we] start hearing this real soft, kind of wacked-out music.  Weird echoes.  Like a radio or something, but it’s not a radio.  It’s this strange music that comes right out of the rocks.  Far away, sort of, but right up close too……This is wilderness, but there it is, like the mountains are tuned in to radio.”

“These six guys are pretty fried out by now, and one night they start hearing chamber music.  They hear violins and cellos.  And the rock—it’s talking.    And the fog too, and the grass and the mongooses.  Everything talks.”

 “Around dawn things finally get quiet.  Like you never even heard quiet before.  One of those real thick, real misty days…..They’re off in this special zone—and the mountains are absolutely dead-flat silent.”……

In a true war story, if there’s a moral at all, it’s like the thread that makes the cloth.  You can’t tease it out.  You can’t extract the meaning without unraveling the deeper meaning.  And in the end, really, there’s nothing much to say about a true war story, except maybe ‘Oh’.”

Did these American Service Men experience something of the primitive force which animated the Native American Indians before a battle, or contact “Songlines” laid down by an Aborigine in a My Lai Jungle, or simply tap into some kind of universal source of music, which can be directed in any way that a contemporary mind can envision,  as a piano or violin solo, or a performance of a great symphony orchestra, or a brilliant acting tour de force on Broadway, or a Gold Medal-winning performance by an Olympic Athlete?

To anyone who devotes his life to the pursuit of musical excellence, both in his own performing process, in watching the rapid growth of developing students,  or the marvel  of truly great artists, surely at some time in his career there must come the suspicion  that the source of his delight is something greater than himself.   The very substance  of the transport that comes to us as the vivid experience of music realized,  can appear at any place and at any time, and must be counted as one of the wonders of worldly possibility.”

Jess Smith, former teacher and Executive Director of the Brooklyn Conservatory of Music, resides in Seal Rock, Oregon where he teaches piano and writes.


1…..ABBY WHITESIDE On Piano Playing:  Indispensables of Piano Playing; Mastering the Chopin Etudes. Amadeus Press, Portland, Oregon.1997.

2…..From Bruce Chatwin’s SONGLINES, quoted in LAPHAM QUARTERLY, for Spring 2012, “Means of Communication. Page 35.

3…..The British Actor being interviewed was either Donald Wood, or Ian McKellan.  The review appeared in the New York Times.

4…..LAPHAM QUARTERLY, for Spring 2012, “Means of Communication”. Article page 137, by Tim O’Brien

Jess Smith, former teacher and Executive Director of the Brooklyn Conservatory of Music, resides in Seal Rock, Oregon where he teaches piano and writes.  It is his thoughts regarding the importance of rhythm in music performances that follow here.

By the time I was studying seriously in New York, a piano teacher named Abby Whiteside  was causing a sensation in the piano teaching world with her first book THE INDISPENSABLES OF PIANO PLAYING.   I was already firmly established in the “old school” of the piano world, but through childhood experience was very much aware that my basic approach was not “fingers” finding keys, but a surging rhythm coming from the entire body which flows through the trunk, the upper arm to the lower arm, and thence out through the fingers.

Abby Whiteside

Whiteside said that “it is the body as a whole which transfers the idea of music into the actual production of music.”2 This connected with my childhood perception of the movements of Cousin Bea’s hands over the keys, my own playing the drums, the bow-arm of the cellist, and the river of tap-flow from the tap dancer.

Whiteside said further that  ”A basic rhythm is the only possible means by which the entire playing mechanism (which consists of the muscles of the arm, the bony structure of the hand, and the fingers) can be brought into full play.  A basic rhythm is the only possible over-all coordinator, for it is not merely the instigator of beautiful musical production, but it is the sole factor that can successfully translate the image in the ear and the emotion which must be at the bottom of all beautiful music into a function of the whole body.”

Abby Whiteside had  discovered, enlarged, and made into a comprehensive Theory of Piano Playing the very impressions that gradually gathered throughout my entire childhood, and eventually became the basis for my turning to a Music Career.    She, too, knew that music making at the piano is not a note-by-note march of the fingers finding appropriate keys, but a surging, compelling, and controlling flow of rhythmic impulse which comes from the entire body.


Jeannine Jordan, concert organist and teacher of piano and organ



The weather outside is still pretty frightful in many places in the US or just that end of winter dreary, so…………why not spend the last of those dark and dreary days practicing the piano?  Nothing to do outside, still too early for spring gardening and all the other excuses – so………..why not practice?

It is time to make great music and enjoy yourself.  Happy practicing! Dr. J

Do you want to get better at your piano playing?  There’s really only one way to get better and enjoy your playing more and more every day and that is to invoke the first “P” word – practice.  If you do something in a concentrated focused fashion on a daily basis, you will get better – and that includes playing the piano.
Once you have achieved success you need to share your new found piano skills and that is the second “P” word – performance.  Share your piano music with your friends, your family, or with the world via YouTube.

The two “P” words – practice and performance – the two important words in the study of the piano.


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  • freeonlinemusiclessons: Hey nice blog. I just picked up you RSS FEEDS. Check out my new website, you’ll like it!
  • bhundley1: I'm interested in your elaborating on the "fingering" aspect of practice. Are you a fan of Czerny, for instance, in terms of building up dexterity wi
  • promotionmusic: Thanks for your response. Congratulations to you on the work you are doing in the piano world.