“What you need to know, have and do to start piano right” is a book by Jenny Leigh Hodgins. The book is exactly what it says on the cover and gives great insights for those considering taking up the piano. Jenny kindly consented to doing an interview for Tommy’s Piano Corner which I’m delighted to share with you here. You’ll find links to her book below.
What are your first recollections of piano and what encouraged you to learn?
My parents introduced me to piano when I was almost seven, through a group class with my sister at a local community facility. I was immediately drawn to the concept of patterns, absorbed in the order and beauty of it. And it was something I could do on my own!
I was an introverted, brooding, highly sensitive child, and gravitated to learning piano as a solitary activity that brought me peace of mind. Music was, for a long time, my escape from feeling overwhelmed by my family’s dysfunction, my shyness, and life’s enormity.
Neither of my parents had any musical background. (I took the group piano class without having anything to practice on during the week between lessons!). I begged my parents to buy a piano and they relented when I was seven.
My mother sold Tupperware to pay for a Wurlitzer console piano from the local music store. She found a graduate voice (not piano) student at the local university to teach me. That young teacher was smart and kind. I enjoyed her lessons a lot!
My early years and the benefits of music
I found great relief in learning music throughout my youth. Music soothed my emotional confusion and allowed me to express my true feelings with anonymity. I relished solitude and musical expression as an introvert. I still do!
Contrary to my dark moods as a child – don’t worry, I’ve lightened up! – I distinctly remember having incredible fun in my elementary music classes. My first music teacher was Dorothy Smith (now deceased). She was the funniest, most animated, openly warm-hearted and embracing teacher I’ve ever had in my life.
Sometimes she would sing and play cute, comedic songs on piano for us that she had composed herself. She would help us put together musicals—including our parents as cast members! Her infectious enthusiasm and complete warmth were my catalytic hook to music.
The fact she shared her love of creating original songs and using music as a way of community-building and fun ingrained in my heart the value of music as a communication method.
She made music extremely appealing and always gave tremendous encouragement. I felt, without her saying so, that she believed in my musical potential. She had a wonderful, compassionate vibe.
As an aside:Years later, after living abroad in Japan, I returned to my hometown of Lexington, Kentucky, and performed my songs from my musical theatre CD, Butterfly, Believe for a local women’s group. I discovered that my elementary music teacher was in the audience! It was such a joy that I was able to dedicate my performance to her and thank her for lighting the fire of music in me as a child, and for starting my journey as a musician, vocalist, pianist, composer and piano/music educator. That was hugely gratifying for me to say to her in a public performance!
Youth Before College
I quickly outgrew my first piano teacher and spent a few years waiting for my parents to find another. When we found one, I went through everything that teacher could offer within a year.
This went on in the same pattern until I started college. So I had a spotty, inconsistent and generally lacking in educational quality piano history before college.
In my teens, my father played a lot of classical records. He introduced me to opera works and symphonies, waving his arms in the air as a fake conductor, with a massive smile on his face. He loved classical music and would attend organ and piano recitals with me at the local university. I would assist and accompany his weekly practice as a bass in his church choir.
College Years
After a difficult period in my personal life, I moved myself from Kentucky to Florida when I was 23. I was happily able to receive both piano and vocal scholarships at State College of Florida and University of South Florida. However, I had a tendency to practice my original music and neglect my classical piano pieces until a week before jury time. Then I would cram all day piano practice sessions for a week to pass my juries.
Miraculously, I always did well except for my nerves. It was a stressful situation full of stage fright. I don’t recommend it.
The stage fright I experienced was traumatic and held me back for many years from being able to pursue music performance. My stage fright and approach to music learning were a reflection of my life choices to that point and my lack of disciplined training.
I hadn’t yet learned good piano practice habits. I had to learn quite late, and definitely the hard way about the importance of consistent, disciplined effort and preparation in music practice.
Although I got both piano and vocal scholarships and was leader of the jazz, madrigal and full college choirs, I didn’t opt for a vocal degree, and ended up changing my initial major from piano performance to music composition.
Although I was capable as a soprano and pianist, somehow creation itself always had a stronger voice within me.
Thinking about how you were taught as a child, what things did your teachers do to inspire you to keep learning?
My first music teacher’s compassionate, supportive ‘voice’ still lives within me. Her enthusiasm and the warmth and freedom of expression she shared has always been the way I define music itself; freedom, expression, warmth, enthusiasm! The memory association that first teacher gave me about music has been a huge factor in my ability to not give up on my musical growth despite struggles with stage fright and inconsistent training.
I share the detail of my spotty musical background as a way to encourage anyone reading that piano is for everyone. You don’t have to have the fortune of high profile credentials to learn piano and gain the tremendous benefits of music education.
I’m grateful for my first teacher’s influence in that regard because I feel she showed me what’s most important early on. That lesson carries me through to this day. As a result, despite my obstacles, and with gratitude for my teachers, I made a 30-year career out of piano and music teaching, as well as performing professionally as pianist and vocalist.
In college, I had several good piano instructors. But one of them, Dr. Charles Turon, gave me a complete understanding of how to practice piano effectively. He taught me the importance of ‘mind spent’ versus ‘time spent’. He also taught me the importance of mindfulness and breath in regard to awareness of physical tension and placement in relation to piano practice.
That was a huge lesson for piano progress, and Dr. Turon’s lessons are the basis for both my teaching strategy and my personal piano practice sessions.
Did you have any negative experiences in your earlier learning journey?
Unfortunately, not having a solid musical training led to a lack of confidence in myself as a musician. In college, I had such low self-esteem that I felt inadequate and out of place in the music department.
I had a few piano teachers there whose intellectual snobbery and emotional distance kind of perpetuated my negative feeling. I had two female piano teachers, but both were reserved and stoic. Fellow pianists were stand-off-ish and mostly concerned with flashy technique versus authentically musical expression. So my whole college experience was a world of musical snobbery and intense judgment.
I know many musicians who’ve experienced the intellectual egoism in the classical music world, too. I also think this negative experience influenced my decision to get my degree in music composition versus performance.
What made you want to teach piano?
I taught piano because I wanted to help others who were interested in music. My desire is to give them an incredibly warm, heartfelt environment where they could feel confident in their musicality and self-expression.
To give others what I didn’t have on my own musical journey until much later is extremely important to me. I wanted no one to experience the snobbery, intellectual ego, or educational gaps I’d endured.
Do you think the approach to teaching has changed over the years you have taught? If so, in what ways?
Definitely! There are so many wonderful piano study methods that have been research-based and proven to be effective learning tracks that engage students and provide a solid piano education.
The advancements of piano pedagogy methods have matured over time. There are so many wonderful piano books that help piano teachers cover a more cohesive, musically enjoyable terrain of repertoire than was available 30 years ago!
Do you think the approach to teaching piano needs to keep changing?
I’m certain there will be more innovative improvements due to the passion educators have toward music learning. I think that’s great. But the most important piano teaching aspects to me are the passion a teacher has for music itself, and the compassion the teacher has for the student’s confident progress.
When a teacher’s enthusiasm for the subject is evident, like my first elementary teacher, the tone is set for the student’s enjoyable learning path. Compassion, however, I think, is the most significant factor of successful teaching (of any kind). That aspect of importance should not change.
But I think good teachers know they must constantly deepen their level of compassion for their students’ growth. That involves a lot of things:
- keeping up the teacher’s own pianistic development, performances
- exploring piano method workshops or new advancements in pedagogy
- networking with other piano professionals to learn and grow creatively, and finding ways to improve student engagement.
As far as the approach to teaching piano itself, I think one of the most important points piano teachers need to constantly develop and teach is HOW to practice piano effectively.
There are so many facets to developing specific piano skills. These range from mastering piano technique, to sigh-reading, harmonic analysis, phrasing, dynamics, tempo, fluency. Additionally it’s necessary to develop to musicianship and expression. But those specifics refer to goals versus HOW to approach and practice toward the goal.
I think the main approach to teaching piano that needs to be emphasized is how to practice piano effectively. That strategy itself will allow the piano learner to advance infinitely. I hope more piano teachers will focus more on enabling students to become independent thinkers in music learning by teaching a foundation of how to practice piano effectively.
Dr. Turon’s philosophy that a good teacher prepares the student toward independence from the teacher. I think if piano teachers can aim toward training students to become capable enough to leave the teacher and continue piano progress independently, that is an innovative, compassionate, powerful teaching strategy.
I read your eBook “What You Need To Know, Have & Do To Start Piano Right!”, what was the main thing that encouraged you to write it?
First, thanks for reading it, Tommy! The feedback I got from readers like you helped me better organize my ideas and improve the content for the audience it’s intended to reach! I really appreciate your insights as an adult piano player!
There are so many people who are looking to start piano lessons for themselves, a friend, or a child. However they don’t really know how to start or even what basics are truly essential for a successful piano education. Many people are intimidated by the prospect and give up even though they reallywant to play piano!
There’s a lot of noise out there offering quick tricks or gimmicks to learn piano faster than before. I’m not saying that some things available online or elsewhere aren’t offering any value. Sure, it’s nice to learn a few tricks! However, the truth is that these don’t work in the long run—or at least not as a foundation—for those who truly want to progress in playing piano successfully and continue to progress as a musician.
My ebook is meant to dispel the myth—that piano playing can be accomplished with a fast, easy trick or gimmick—through straight talk from someone who has taught and played piano for 30 years.
I’ve retired from one-on-one piano teaching, but I want to offer value to my online audience at YourCreativeChord.com. Over the years, many people asked me the questions featured in my new ebook! I’ve written several blogs answering a lot of those questions from new or returning piano learners. I decided to offer an all-in-one, easy-to-read resource where those interested in starting piano lessons can find all the answers to their questions about how to successfully begin and forge a strong foundation for continued piano progress.
For anyone who’s interested in exploring piano learning, this is the ebook that gives you everything you need to get started learning piano right. ‘Right’ means with the confidence that you’ve got the right teacher, method, instrument, setup, routine, advice, age and anything else needed to successfully begin piano!
What are the major differences you see between adult and child learners? Who are the easiest/most fun to teach?
Individuals are clearly unique. So there’s that. I found it enjoyable to teach any age. I don’t think there’s an easiest, most or best anything. Everyone has a unique perspective, situation, or issue to address. What made it fun for me over the years, was teaching someone whose passion for music was evident. Or, finding the approach that helped something click for a student to become self-reliant.
I’ve taught a few children who were quite nervous, or lacking in confidence. However, I think generally many of my adult students had more reservations, hesitance or ego-based nervousness than most children I’ve taught. I think it’s just that most children are more in touch with their creative light than most adults. But the fun of teaching those adults was watching them break through to new levels of skill and musicality. Watching a student’s excitement at their own accomplishment, regardless of age, has always been a joy as a teacher.
Again, a lot of ease in teaching comes once the student has learned how to practice piano effectively. So a large portion of my lessons with students has always focused on that aspect. Once a student grasped that strategy, everything becomes easier for both student and teacher to create forward momentum with piano progress.
On light hearted note, if money and space were no object, what would be your dream piano?
Gigging as pianist/vocalist gave me the chance to play a large variety of pianos. I have played everything from pieces of junk, to superbly fine instruments (as well as lugging my electronic piano and speakers to gigs). I’ve played everything from Kawaii, Yamaha, Wurlitzer, Pearl, Baldwin, Boston, and Steinway.
I practiced or performed on Steinways in college, and later when I worked in a local Steinway piano shop years ago. I’d definitely like a Steinway grand piano. Or even a Boston grand piano (lower priced Steinway option). I always loved the rich, warm tone of a Steinway. The craftsmanship of an instrument well-made with quality materials makes a musician’s job a dream.
But I also know that choosing a piano is a highly subjective, personal choice. I don’t believe Steinway is better or worse than a different brand, if it suits the individual’s preferences and needs.
You will find more detail on how to choose the right instrument in my ebook, What You Need To Know, Have & Do To Start Piano Right!
You can also look here for some thoughts from Tommy’s Piano Corner on choosing a piano.
About the author
Jenny Leigh Hodgins’ 30+ year career as a professional musician, music educator, composer, and being a writer, poet, lyricist, and hobbyist nature photographer, allows her the edge of expertise in music and the creative life. Hodgins is also a new author, blogger and podcast host, offering empowering strategies for nurturing creativity and inspiration at:
Get her first ebook with advice for new or returning piano learners to start piano right at:
What You Need To Know, Have & Do To Start Piano Right!
Watch for her upcoming second ebook, My Best Tips On How To Practice Piano Effectively, and online course on the same topic launching in late January.
You can stay informed and get more tips for nurturing creativity and inspiration when you join TEAM YCC here.
Jenny Leigh Hodginscomposes piano-based, orchestral and musical theater-style music. Find her music at:
