Most students who are starting their piano lessons now should focus on the first lesson, not on the last lessons. This is because there is a lot to learn before and while learning and playing, and many times it’s the first few lessons that are important and give you the best opportunity to progress as a musician (and it really helps if you are also learning scales and playing arpeggios in addition to the piano).
Do I need more than 10 lessons to get good at playing piano?
The answer is “yes, I definitely do”! But the key word here is “truly good”. Playing piano is never ‘just’ about the piano; you need to know what you’re playing, and how to play it with confidence and to produce the best possible music. If you do want to go beyond the first 10 lessons and do more advanced lessons on the piano, the most important thing right now is to learn the music you want to play and the way to play it – and you’re really missing out if you neglect this step.
Are there a ‘right’ level of piano music?
Most piano music comes in two categories. There is regular music, which you generally feel comfortable in, and then there’s jazz based stuff, where you have to get creative in order to hear all the nuances. If you’re reading this, there probably won’t be a lot of jazz music that you can play on the piano well.
This is true. There is not a ‘right’ way to play a jazz piece of music on a piano. However the idea is simple – you need to learn music that is not too easy, and not too difficult, and to play the musical pieces in a way that’s fun, but to use your hands and fingers to give their full impact.
This guide is about teaching you how to play the music you want, not what music to play. Therefore, every single lesson you take starts out with a discussion on what the lesson will teach you, and how you’ll get in touch with the music.
How long should I listen to before I take lessons?
This one has always been a source of conflict between beginners and musicians. It’s the biggest stumbling block in most beginners’ paths to piano learning! The reason for this is that the musician is thinking about all the ways in which the music sounds wrong, or that the melody he’s writing is incorrect. This is where the concept of the ‘musical ear’ comes into play
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