I’ll tell you exactly critics of “soft piano” methods say:
“Piano cannot be made easy.”
“Easy piano methods instill bad habits.”
“Only the conventional manner is acceptable. Anything less is cheating the child.”
“’Soft piano’ is diluting music education.”
Let’s take those four statements and examine them. I’ll try to be fair, but I’m obviously biased.
PIANO CANNOT BE MADE EASY
Essentially they are right: you can’t make the Rachmaninoff Concerto #2 much easier. Yes, there are obvious standards, and the piano curriculum, at all levels other than the very beginning, is quite codified and clearly laid out in ascending levels of difficulty.
But it is the beginning of children’s piano lessons that concerns us. Unless you can get the child to continue with lessons, starting with their very beginning, it matters not what method you use: a bored child is a bored child.
You can call it music education but if the child is turned off, your efforts as a piano teacher are OVER.
Thus, we are not talking about making piano easy forever, but only at the most crucial point, the beginning.
And here, the beginning, the dogmatists are insistent: you learn to read music first, and nothing else matters, period. Anything else is heresy, and thus “soft piano.”
The answer to these fools is “Piano MUST be made easy in the beginning, by any means, or you will not have a student to teach.” The dogmatists don’t really care if your child learns, in their own peculiar, slow way.
The dogmatists will be quick to brand your child a failure when they fail at THE METHOD, and find another parent who believes, “The old METHOD is the only way.” Their concern is income from lessons with the least trouble to themselves, not your child’s unique experience of the piano.
Your child’s experience of their method is utterly irrelevant to the dogmatists.
SOFT PIANO METHODS INSTILL BAD HABITS
There’s no doubt that learning the piano is learning to have a series of habits. Correct hand position, good fingering instincts and muscular dexterity are all prime traits of a professional pianist, along with a thousand others. Without them, you really cannot scale the Everests of the piano literature.
But the kids aren’t “mountain climbers” yet, and are not even really “hikers” of the piano.
They are crawling into an intellectual and physical world unlike any other experience they will ever have, and you as their teacher would do well to make their first experiences very enjoyable if you wish continued, enthusiastic attendance, which is a MINIMUM requirement for really learning the piano.
Rather than treat the children like sober cadets committed to the cause, why not treat kids like voters, who must be wooed and reasoned with?
Such indulgence pays off later, a thousand-fold.
Never forget that the worst habit you can have at the piano is not wanting to sit at the piano and play.
Yet that habit, not wanting to play, is the prime skill most piano teachers unconsciously instill FIRST, and then expect rapt obedience. They "accomplish" this feat with an unsympathetic attitude and lots of rote repetition.
The reverse is true: you’ll need repeated, happy attendance at the piano to instill good habits of ANY kind.
SOFT PIANO CHEATS THE CHILD
How wrong. “Hard” piano courses are doomed statistically to failure even by admitted industry standards: nine out of ten kids fail using conventional piano methods alone, and these methods are usually restricted to reading music.
So if you DON’T tailor the piano curriculum the child, you will cheat them of their “piano experience” because they will hate it and quit, thereby effectively ending your child’s first attempt at the piano. They may try later in life, but they will remember it as unpleasant and, well, “hard.”
Anything that does not convince the child to explore the piano as a fun activity is a bad thing, and cheats the child of possible continued interest in the instrument: these are CHILDREN, after all. Use common sense, horse sense, child sense.
SOFT PIANO DILUTES MUSIC EDUCATION
I assert that I am doing the opposite.
I am forwarding music education, specifically piano, in that I am attracting and keeping far more children as students, and turning them into avid players at whatever skill level they are comfortable with.
I regard institutional standards as irrelevant in the teaching of the piano to young children; all that matters is the child’s experience of piano lessons.
Piano by Number does the same, on a larger scale. Any device that allows people to become avidly interested in the piano is to the good.
Think of the cultural circle: you have more piano players who buy instruments, who attend concerts, who buy CDs, who employ musicians, in an endless cultural loop that is fueled at the beginning by CHILDREN, the future of music and the piano.
The more children you interest in music, the more robust your musical culture.
Right now, there is no American musical culture for children other than the wasteland of Disney.
If you want the piano to disappear from children’s experience then, by all means, make it as difficult as possible.
By John Aschenbrenner Copyright 2010 Walden Pond Press All Rights Reserved
See also WHAT IS A GOOD AGE TO START PIANO LESSONS
See also WHY DELAY READING MUSIC
See also TEACHING GUIDE DOGS IS JUST LIKE TEACHING KIDS PIANO
See also WHY CHILDREN SHOULD LEARN ABOUT PIANO CHORDS