1. you need an instrument, 2. a minimum of motivation, 3. perseverance and patience, 4. possibly some basic musical knowledge (this will make getting started easier), 5. possibly a concrete goal (a piano piece you're passionate about, or a future project, such as playing at a friend's wedding, etc.).
The question is easy to answer. There are no age restrictions. Why should they exist? As long as you feel fit, are curious about new challenges and appreciate beautiful sounds, you are welcome to my lessons at any time. This has been the case since the beginning of my work as a piano teacher and it always will be. I no longer believe that older people have much time. But what they often do have is a beautiful and valuable instrument, often an acoustic piano. Some of my elders also have a grand piano. Some also have a digital piano, usually transportable. Over the past 25 years, I have been able to experience many positive examples of older people who have enriched my teaching enormously. Some of them had never touched a key before and started from scratch. However, the returners were and are the majority. Without exception, all were able to achieve their goals, although there are certain limitations. The responsiveness of an elderly person cannot be compared to that of a teenager. In many cases (but not all!), the playing of older people is extremely correct, but it does not reach the desired speed. What counts at the end of the day is the enjoyment of the game. Most older people read sheet music by sight and do it impressively. The few musicians who play from memory have often found that their memory capacity for long and complex pieces reaches its limits. But there is a good solution to this. Since the use of interactive digital sheet music (since 2018), visual impairments are no longer a problem, because the sheet music can be enlarged to any size. It can also be seen that there are no limits in teaching, because one of my elders quickly got to grips with the notation app "Musescore" and has since recorded his improvisations in writing. Simply admirable. All my elders say in unison: "I take piano lessons to stay mentally fit." It seems to work...
With the exception of small children, I've always had very good results with 60-minute classes in the past. Let's not kid ourselves. The first 5 minutes are devoted to general wellbeing and important organizational information, the last 5 minutes to planning the next lesson. The remaining 50 minutes go by faster than you can imagine, provided the lessons are good, entertaining and you're enthusiastic about the project....
The question is interesting and has merit. As always, it must be based on each individual case. A beginner wants to make audible progress as soon as possible. He thinks in weeks and months. My intensive course for beginners lasts about 6 months in the course system. You can shorten it in individual lessons, depending on your understanding and ambition, up to a maximum of 3 months. At the end, you will be familiar with the most important elements of music theory and will be able to play in the simple keys (C major, G major, F major and the parallel minor keys). You have learned to control your hands independently of each other. You are familiar with the most important musical styles and have a solid foundation for special courses (type A courses!) with topics that particularly interest you. Advanced students who have already reached a certain level should consider continuing lessons for several years to learn more complex techniques, music theory and different musical styles. Of course, you can also take an improvisation course to develop your own creativity on the piano and not always depend on sheet music. To finally answer the question, I would say as long as you are curious and fascinated by the piano. Even professional pianists sometimes take lessons to learn new techniques or specialize in specific musical styles.
If you listen to your previous recordings that you sent me in the course system (see "Support Concept") after a while, you will notice your progress. In a few words, you can recognize the progress, for example, by the fact that you have to correct fewer sign errors (accidentals), that the speed of your pieces has increased, that you are perhaps able to perform pieces in the presence of other people, and that your musical score changes over time and becomes more complex, etc. There is probably someone in your private circle who encourages you and praises your progress. Last but not least, there is your teacher, who gratefully acknowledges every little progress and will be happy to let you know from time to time....
Yes, to be honest, there are. Fortunately, only on very rare occasions. This is usually the case if a student has taken the initial lessons several times with different teachers. Each teacher has their own way of doing things, which is not a problem in itself. If for some reason the teacher changes, the beginner will be faced with a completely different way of working, which will inevitably lead to total confusion. When teaching methods do not adapt to the individual needs of the students, this can lead to frustration. Some students need a particularly clear structured approach to understand the basic concepts. I recommend individual lessons. The rapid progress of other members of the course can have a very negative impact. Some students simply have unrealistic expectations about their progress and feel disappointed when they do not learn as quickly as they would like. These examples show the importance of providing each student with the right support and guidance to gradually develop their skills and strengthen their motivation.
Especially students who have been in class for years will eventually come to a point where they wonder if they are still on the right track. Doubts are completely normal. But how can you remedy the situation? I have put together some suggestions for you. 1. You should constantly remind yourself of the motivation from the beginning, 2. You should choose pieces that you personally like, 3. Maybe choose pieces from a different genre (e.g. pop instead of classical), 4. Work towards a goal (e.g. a performance with friends or in public), 5. Integrate fixed practice habits into everyday life as a routine, 6. Celebrate small successes, 7. Be in contact with other musicians (in concerts, festivals or similar)
Music theory is an indispensable part of piano lessons, as it helps students not only develop technical skills but also gain a deep understanding and appreciation of music. By integrating theory into lessons, playing the piano becomes a holistic and enriching experience. Above all, my intensive course for beginners teaches the basic concepts needed to understand music. This includes reading music, rhythm, intervals, chords and scales. This knowledge is essential to learn and perform pieces effectively. Music theory is a prerequisite to continue working professionally in music, for example in the form of a degree in music.
Although I am a little embarrassed by this question, I would like to comment on some things from my practice. Just as there is no such thing as "the piano lesson", there is also no such thing as "the piano teacher". Why is that? Simply because you, as a person, are just as unique and irreplaceable. You have a certain idea of music, certain goals that you want to achieve. And this is exactly what you should discuss in advance with your future teacher. What type of lessons does he offer? Does he specialize in a certain style of music (for example, only classical piano lessons) or is he open to all forms of music? Can I communicate with him? Do I like his way of working? Do I understand the explanations he gives on a particular piece? Is there a chemistry between you and him? Whether you believe it or not, these personal characteristics play an important role in determining the success or failure of the lesson. It is safe to assume that he has a professional qualification, especially if he is a teacher who has been on the market for many years. This would not be possible without professional experience. Is the teacher open to improvisation or is this area a taboo subject for him? Does the teacher share my passion for music or does he just do his job routinely? How affordable are his lessons? What are the additional benefits? Are there any additional costs? I hope I was able to help you a little in your decision.
Since I can offer you both, it is much easier for me to answer this question. This point also depends mainly on you. Are you the kind of person who needs very personal support to take action or do you have a high degree of self-motivation? In the first case, I recommend individual lessons, in the second my course system. How much money do you have available for the lessons? Does money not play such an important role in your decision? Or do you simply have a limited budget and want to achieve the best results? I think you can imagine my answer. With the new "support concept", I promise you that personal support will also be available in group lessons, but not in the same place, of course. Ultimately, the question also depends on what type of course you want to take, or in other words, whether you are interested in courses for advanced students or for beginners or those returning to the field.
You can find the answer to this question on the page "Tips for buying a piano".
On average, current prices for a piano lesson range from 30 to 50 euros. The monthly contribution ranges from 120 to 200 EUR. Prices depend on several factors such as location, teacher qualifications and the type of lesson (individual or group). Prices can also be higher in larger cities or for particularly experienced teachers, while costs can be lower in more rural areas or for teachers with less experience. You can see my prices on the page my prices.
Also in this question I would like to ask you to distinguish between individual lessons and lessons in the course system. The question sounds to me as if you have already practiced a few pieces and would like to play them for a larger group of people. I invite you to do this within the course lessons after consulting me beforehand. Here is a platform for interested listeners and you will surely receive competent feedback. Of course, you can also show me your favorite pieces in a one-on-one lesson. I am happy in any case. However, if these are pieces that you would like to learn and practice, that is also fine. If they fit into the context of the course, we will include them in the selection of course pieces and practice them together at the appropriate time according to their level of difficulty. Usually this is also possible in individual lessons. In the past, I have repeatedly found that the desired projects were carried out with great commitment and that the quality of these projects was above average. Basically, I support any commitment on the part of the student because I know that it increases his motivation. And motivation is the prerequisite for success.
Many people think that good lessons alone guarantee success in piano. This is far from the case. Of course, you need good lessons that motivate and inspire you. But, I must say it very clearly, the most important thing is and remains what you do with the motivation of the lesson. What is crucial is the week of practice. Playing the piano, you have to imagine, is almost the same as learning vocabulary in a foreign language. If you look at a new word in a foreign language only once a week, it is very likely that you will have forgotten it by the end of the week. Imagine what happens if you look at the word once a day, or even twice a day. It does not even have to be for a long time. In this case, you have made the word your own. How easily you can use it in a conversation. And the same goes for practicing the piano. For the students of the course system, I thought of a kind of support for the time between lessons: the "support concept". Here all the details. Finally, I would also like to point out that not all practice weeks will be the same. There are good weeks and less good weeks. That's why we are human beings and we also have other obligations to fulfill throughout the week...
One of the most important conditions for successful teaching is patience. Learning to play the piano is a (life) task. Perhaps the best comparison is really learning a foreign language. It requires perseverance and patience. However, many students initially have difficulty with technical skills such as reading music, coordinating both hands or meeting rhythmic challenges. Finally, there is the psychological component, which manifests itself in the form of stage fright, performance anxiety, lack of concentration and nervousness. You get it. The challenges are very individual in nature. Each person has their own personality structure.
Probably, the question can only be answered individually. I have students who will never try to perform in public in their lives. For her, playing the piano is a deeply private affair. The piano room is a refuge from hectic everyday life. The piano is sound therapy, a balm for the soul. But I also have other students in class who operate in exactly the opposite way. They want to show and demonstrate the newly learned project. They organize "cafés" and other activities to give their hobby a social framework. If they couldn't play anything, they'd wither away completely. In the past, I've had many students who attended a specialized music high school. A public appearance with notes was scheduled twice a school year (then only once). I strongly advised these students to voluntarily seek out every possible performance opportunity (for example, in pedestrian areas) to gain the necessary practice and self-confidence. As you can see, there is no general answer to this interesting question.
At first, mistakes are often made in sitting posture, hand position, strength of touch and similar things. As a teacher, you should pay attention to this and, if necessary, take corrective measures. If excessive pressure is applied to the keys, it will lead to fatigue. But many things are completely normal and will disappear by themselves over time. A very common phenomenon is the uncertain approach to the subject of reading music. Many students do not actually read the score, but memorize the pieces just to be sure. At first, the ability to express oneself musically is often lacking. The game is almost indistinguishable from a computer. There is no interpretation. The same applies to the use of pedals. It takes more experience in playing to intuitively understand how to use the pedals correctly. Another problem at first is self-assessment, which is often incorrect. It can happen that beginners want to play a well-known or very current piece at all costs, but it is currently too complex and inaccessible for them. As a teacher, I have to recognize this accordingly and, if necessary, offer a playable variation. So patience can also play an important role here.
First of all, I want to tell you that stage fright is something positive, even necessary. It is necessary to have a certain amount of tension in order for your presentation to be interesting and lively. With increasing practice in public presentations, this feeling, which is generally perceived as very negative, gradually diminishes. But what exactly can you do about it? You need an unconscious security in the pieces you want to perform. Start familiarizing yourself early so that you can avoid time pressure and stress in advance. Find out how you want to play or can play the pieces. From memory or by sight? If it is the latter, ask a good friend who can read the score to help you turn the pages during the performance and try it out several times with him or her. Take advantage of every opportunity to play your piece for someone. Your parents, children, life partner or other generally caring people will be happy to support you. Good breathing techniques can also be helpful to avoid hyperventilation and calm you down. Keep concentrating on the sound of the music. Also, if you have the opportunity, choose a piece with a simple introduction to start your performance. This gives you a "grateful" start, you quickly find the security you need and then you can enjoy your playing.
"Ear training" is a very complex and important topic. You especially need it if you have to prepare for the entrance exam to music faculties and academies. In a somewhat reduced way, it is necessary for every pianist, especially for those who do not play from sheet music. How to advance on this path in the most fun way possible? I have some tips for you below. It may seem strange to you, but first, you need to learn to "hear" and "listen" with concentration. Concentrate on one element at a time, for example the melody. Then on the bass lines, then on the rhythmic structure, then on the harmonies. Try to describe what you hear. This will make it easier for you to transfer to the piano. Try to recreate melodies. Start with well-known melodies, such as children's songs. Always work in sections. To do this, play your .mp3 file in applications such as "Audacity". Here you can roughly identify the individual parts of your project. Create meaningful units and play them in continuous loops. If necessary, reduce the speed without changing the key. This will make things much easier for you and you will be able to move forward safely. If necessary, write the melody on a score, perhaps also in the notation application "Musescore" (use the latest version of the Series 3 and avoid the latest version 4.X!). Add the harmonies in the right place. Please do not forget that "ear training" is a long-term project that cannot be solved in one day...
Very important, almost indispensable. From the beginning, one of the goals of my teaching has been to offer piano students the broadest possible musical horizon. Each genre has its own peculiarities, its own rhythm, its own special harmony, its own style. Playing different styles of music fosters students' creativity and improvisation skills. They learn to combine different musical elements and create their own compositions, which enhances their musical expressiveness. By exploring different genres, such as jazz, classical music, pop or world music, students develop a better understanding of the cultural context and history of music. A wide repertoire of musical pieces from different genres makes lessons interesting and motivating. Last but not least, it makes it easier for students to adapt to different musical situations, whether playing in a band, accompanying singers or even composing their own pieces.
In the tradition of classical piano teaching, the name of Charles-Louis Hanon (1819-1900) is worth mentioning. The pioneer of dexterity published his famous work "The Virtuoso Pianist in 60 Exercises, Calculated to Acquire Agility, Independence, Strength and the Most Perfect Equality of the Fingers as Well as Flexibility of the Wrists" in 1873. Did you know that there is also a "Jazz Hanon", an exercise book by Leo Alfassy with the subtitle "Authentic and Progressive Exercises and Studies for the Contemporary Piano Student" (Jooz Publishing 2005)? Both examples aim at dexterity and promise to achieve it through countless practices. In the 25 years I have spent as a piano teacher, I have had between 3 and 4 students who have approached me with exactly this request. Of course, I supported them in their project as best I could. You are probably asking yourself "So? Were they better than your other students?" The answer, as sorry as I am, is probably no. "So what did the many other students do to achieve mastery?" you keep asking. My answer: they simply played their usual class pieces, such as works by Yann Tiersen, Yiruma, Michael Schütz, Didier Squiban and many others. In other words, finger exercises are undoubtedly an important pedagogical element in piano lessons. But they do not necessarily have to be monotonous, low-sounding studies. There are also interesting alternatives that are effective.
I recommend you do what I do with students in class. First, you need an overview of the piece. Divide it into meaningful sections. If you're lucky, the score is structured in lettered parts (A, B, B', C). If not, use clues like the double bar line, tempo changes, fermatas, and possibly titles (like Trio, Variation I, etc.). Focus on a section where you can see the size and choose a slow tempo. Listen to the section if you have the chance. Ideally, the piece should be in "interactive score" format. Connect your piano to the computer, select your piano from the menu, and activate the "play" button on the score. For more information, see "Interactive Score". In some circumstances, it may be a good idea to practice the hands separately. To do this, select "selected staff" from the menu. For pieces with a rhythmic accent, I recommend practicing separately less. It doesn't get you any further. Try a good fingering. Print out the score and enter it. Consider making recordings of your performance and listen to them carefully to identify possible improvements. Give yourself a break and approach the piece with the necessary patience. Rome wasn't built in a day.
The lessons in the course system take place every week. Then you already know my answer. Why does it make sense to teach once a week? When it comes to piano lessons, the most important thing is regularity. Regular lessons allow you to recognize and correct mistakes early on. Beginners in particular benefit from weekly lessons because they learn basic techniques and concepts, which can then be repeated more frequently and corrected if necessary. For many students, weekly repetition is also beneficial because they regularly need a motivational boost and a specific work task for the week. If you are pursuing a specific project, such as a public audition, weekly lessons will help you reach your goal faster.
The choice of musical styles is often left in the hands of the teacher. Depending on his own interests and musical openness, he will choose one and maybe not the other. Therefore, I can only talk about my own lessons, because I have been offering them since 1999. You can find my concept in "All musical styles".
In a good piano lesson, this will happen "by itself". You just have to "stay focused" and complete your daily exercise program with common sense. Of course, you can do more than that. The best advice I can give you is to listen to a lot of music. Listen carefully. Learn to listen. Train your hearing. Play the melodies. If you want, learn to use a notation program. I recommend that you install the latest version of the 3 series of "Musescore". I do not recommend the current 4x version! Write down everything you have heard and gradually complete your transcription. Work on the musical interpretation of your pieces. Pay attention to dynamics, phrasing and articulation while playing. Experiment with different forms of expression to develop your personal interpretation. Try to integrate the emotions that the piece conveys into your interpretation. Think about what state of mind you want to create and how you can achieve this through technique and expression. Quality over quantity. Include some technical exercises in your daily exercise program. This gives you greater dexterity and also prevents fatigue. Your general speed will increase. Your motivation at the same time.
Even in this case, I have to answer realistically: no. I have experienced many times in the past that there are pianists who do not feel at all comfortable outside of printed scores and are not willing to take this uncertain path. Indeed, there are people who are afraid of making mistakes or who inhibit themselves when it comes to putting their creativity into music. All the more important for me as a teacher to recognize when is the "optimal moment" to start improvising. If you start too early, there is a risk of missing important prerequisites, such as a basic understanding of harmony. The more experience you have in playing music or familiarizing yourself with music theory, the easier it will be for you to start improvising. From the beginning, I use a personal development methodology to make the transition to improvisation as fun and simple as possible. But I also respect a student's decision to return to the safe haven of sheet music. Of course, it is also possible to do the opposite. Everything is music. Joy matters.
Accompanying a singer or solo instrument is a very important and useful exercise. Comparable to this are four-hand pieces. Added to this is the spatial proximity to the other player, which many people find necessary to get used to. Playing with a partner promotes the ability to learn to listen to the other. Such projects contribute significantly to training your musical ear. They help you to better understand harmonies and melodies. Playing together will ultimately improve your sense of rhythm. In general, you can assume that this type of piano music will help you overcome any stage fright you may have during a public performance. You are not the only focus, as is the case with solo projects. In any case, you will come out stronger from the interaction and presentation. Your motivation has received a great boost and that is the goal.
The most important message is: calm down first. Then find out what's really going on. From my experience as a teacher, I know that not all piano pieces are equally suitable for all students. It may also be that you can't do anything with a piece, even if you've really done everything in your power to approach it. What's the problem? Leave the piece aside. Put it off until a later date. If it still doesn't work, throw it in the fire. Life is too short to get upset about bad compositions. I mean this seriously. By the way, you can tell me openly. I probably discovered it myself a long time ago... Anyway. If you still have a spark of interest in the project in question, do the following. Maybe you need to do shorter practice sessions and you've been doing them too quickly. Change your practice methods. Play more slowly, repeat the short practice sessions. If you see that it works, it might motivate you to tackle the rest of the piece. Don't sink your teeth into the piece. Turn off the piano, go for a walk. Often, things suddenly start to work better. Write down your units and practice plans. Once you've reached your practice quota, put a big mark behind it. It feels good. Maybe discuss the phenomenon with a classmate. Maybe he feels the same way as you. It's very important that you never let a project "get you down". Any pianist will tell you that there are certain structures and styles that he likes less or maybe not at all. It can also be good to take out an old piece or open it on your computer. Play and enjoy your life with music.
Ask me personally. You'll get my answer, I promise!