From Middle C to Carnegie Hall
the value of piano lessons
by Andrea Kebede
It was all too common in the 1900s for the parents of a glossy-eyed couple-to-be to present a piano as a dowry. Still more common was for a man to inquire, “And what instrument do you play?” to a girl of his interest. These ideas are vintage and do not attract the attention they used to. To a generation saturated in pop-culture, Franz Liszt’s name takes no precedence in an iPod’s play-list, and the notions of theory and analyzing music in it historical context are confined to the minds of classically trained musicians.
No, not everyone is destined to endure hours of rigorous training at The Peabody Conservatory in New England or have the opportunity to perform Rachmaninoff’s concertos at the White House, yet there are benefits to playing the piano for everyone, including the margins: children in early childhood development and older adults. Decoding the many advantages to both children and adults taking piano lessons is well worth considering.
According to the Piano Technicians Guild, as quoted in a study published by Neurological Research on Feb. 28, 1997, “children who received piano or keyboard training performed 34 percent higher on tests measuring spatial-temporal ability than others—even those who received computer training.” This implication notes that playing the piano should be named not only as a hobby, but also as a way to increase in aptitude—in this case, reasoning that measures space and time.
Spatial-temporal abilities are necessary in playing the piano. For instance, when reading a piece of piano music for the first time, one must think about the time signature that indicates how many beats per measure. If the time signature is four/four, the piano player must calculate the value of each note and subdivide each beat within the context of the measure within a matter of seconds, or for beginners a matter of minutes, and execute the passage. In irregular signatures, such as seven/four, one must think in terms of ratio and proportion in each measure, establish an internal pulse of the irregular signature (often contrary to what the body feels) and play accordingly.
Playing the piano demands the attention of the cerebral cortex, which is in charge of receiving sensory information and voluntary movement; the sensory cortex, responsible for receiving incoming touch sensations from the rest of our body; the visual cortex which interprets messages from our eyes; the auditory cortex for processing and interpreting sound waves and affecting our ability to understand language; and the motor cortex which controls the feet and toes of the body. These all operate simultaneously while playing the piano.
Taking piano lessons builds proficient hand-eye coordination and fine and gross motor skills which aid in cognitive development. To play the piano, one must use quick eye movements to read a musical passage. While reading piano music, the eyes start at the bottom of the bass clef and move to the top of the treble clef in a continuous pattern until the piece is complete.
Yet reading constitutes one portion. The hands must move accordingly, with the eyes and ears to communicate the loudness or softness of a piece by how hard or soft the fingers sink into the keys. The pressure applied to the keys is not only limited to the hands’ 10 hinges, but also the suppleness of wrists, weight of arms and placement of shoulders. Depending on the piece’s style, the feet will control one pedal or more and once in between notes to add color and texture.
In a study conducted by Peter J. Jutras at the University of North Texas, 711 adults self-reported the benefits they received by taking piano lessons. “The highest rated benefits in terms of importance were dream fulfilled, technique, accomplishment, escape from routine, skill improvement, musicianship, musical knowledge, play/fun, skill refinement and personal growth” (2003-05). Confidence is built in everyone who takes piano lessons. Many studios require or encourage playing in piano recitals, participation in various competitions or involvement community service as a venue of performance, apart from the lessons. Children and adults view themselves more positively because they can own their societal role as pianist in a recital, community outreach, chamber group, youth band or competition.
The piano serves as a bridge between cultures. Many conservatories in American are no longer filled with domestic students, but international students representing many countries. As a pianist touring Europe, one has the opportunity to look up various chamber groups to play together while passing through on vacation. The Hungarian pianist, composer and ethnomusicologist Bela Bartok befriended local gypsies. He documented their folklore in the form of a music collection known as the “Hungarian Dances” that has been transposed for, but not limited to, orchestra, percussion and piano individually.
As the last dregs of summer fad away and school hovers at the horizon, consider enrolling yourself, children or grandchildren in piano lessons. Whether you are a beginning student who needs basic information or an advanced student who needs review, the New River Valley holds many skilled piano teachers who can provide piano lessons geared to your goals as a rising pianist.
Andrea Kebede is a graduate of Virginia Tech and enjoys teaching at Bridge Kaldro Music, performing, accompanying and ministering to others on the piano.
Published in The New River Valley Magazine, July / August 2010 edition.
Standard rates are $25 for a half hour or $45 for an hour lesson.
For more information, please contact bkm@bridgekaldromusic.com
