Kawai Australia

Why It’s Never Too Late to Play The Piano: The Mental, Emotional, and Creative Benefits for Adults

Hugh Raine — Wed, 07 May 2025 07:38:37 +0000

Rediscover The Piano

There’s something deeply satisfying about returning to an old love. For many adults, that love is the piano.

Whether you’re a young professional looking for a meaningful hobby or a grandparent seeking ways to stay mentally sharp and emotionally fulfilled, the piano offers more than nostalgia. It provides tangible mental, emotional, and lifestyle benefits—and, perhaps most importantly, can be a source of pure enjoyment.

A Workout for the Brain

Playing the piano is one of the few hobbies that engages every region of the brain at once. Neuroscientist and author Dr Daniel Levitin explains that music activates all parts of the brain that we’ve mapped so far, and every neurochemical system that we can measure. It demands coordination, memory, concentration, and auditory processing, all in real time. A 2013 study published in Frontiers in Psychology found that musical training can enhance executive function, a set of cognitive skills that includes problem-solving, attention control, and working memory—skills that naturally decline with age unless actively used.

This means playing the piano can help keep your brain agile and your mind clearer, longer.

Stress Relief and Emotional Balance

We all need a way to unwind, and playing the piano offers a unique kind of therapy. The rhythmic repetition, the physical touch of the keys, and the immersive nature of music itself can soothe the nervous system and offer a form of mindfulness without the need to sit still and meditate.

In fact, several studies suggest that piano playing can reduce cortisol levels (the hormone linked to stress and body inflammation) and increase dopamine—the “feel good” chemical. It’s no wonder that more adults are turning to music as a form of self-care.

Memory and Longevity

If you’re hoping to stay sharp as the years roll on, the piano may be one of your best allies. Learning, retaining, and recalling music keeps the memory circuits active. Regular practice—even just a few minutes a day—has been shown to strengthen the neural pathways responsible for both short-term and long-term memory.

Longitudinal studies have also linked musical engagement with a slower rate of cognitive decline and even delayed onset of dementia. In short, the piano could be one of the enjoyable ways of keeping your mind highly active, and minimising risk of mental decline.

A Creative Outlet in a Structured World

Modern adult life can feel like an endless loop of responsibilities. The piano offers a precious outlet for creative expression—no deadlines, no demands, just you and the music. Whether you’re recreating a Chopin nocturne or improvising your own tune, the piano gives you space to feel inspired and imaginative.

And for those returning after a long hiatus, there’s great joy in watching your hands remember what they once knew—and in giving yourself permission to play without pressure. Discovering new pieces or new composers can feel like finding previously unexplored flavours or colours – something fresh and novel!

Social Connection

Music has a wonderful way of bringing people together. Whether you’re joining a local piano group, playing duets with a grandchild, or simply sharing a video with friends, the act of playing fosters connection.

This is especially valuable later in life, when it’s important to maintain an active social circle. A shared love of music can rekindle friendships, spark conversation, and bring generations together in meaningful ways.

You Don’t Need to Be a Concert Pianist

This might be the most important point of all: you don’t have to be brilliant, you just have to enjoy it. There’s immense value in simply sitting at the piano for 10 or 15 minutes a day and making music that makes you smile.

There’s no exam, no audience—just a quiet invitation to yourself: come and play.

Final Thoughts

In an age of endless scrolling and busy schedules, piano playing offers a rare and beautiful alternative. It’s mentally enriching, emotionally grounding, creatively fulfilling, and entirely yours.

In the words of British-Spanish concert pianist and author, James Rhodes:

“Music provides company when there is none, understanding where there is confusion, comfort where there is distress, and sheer, unpolluted energy where there is a hollow shell of brokenness and fatigue. There are eighty-eight keys on a piano and within that, an entire universe…”

So, if you’ve ever thought about playing again—or starting for the first time—consider this your sign.

You’re never too old. You’re not too busy. And it’s never too late.

Written by Andrew Rumsey, Business Development Executive – Education & Acoustic Pianos

Prepared by Hugh Raine, Digital Marketing Specialist

The post Why It’s Never Too Late to Play The Piano: The Mental, Emotional, and Creative Benefits for Adults appeared first on Kawai Australia.

Hania Rani 2025 Tour Interview

Hugh Raine — Fri, 21 Mar 2025 00:50:32 +0000

Hania Rani Interview in Japan during 2025 Tour

Hania Rani, is a composer, pianist, and singer from Gdańsk, Poland. As part of her 2025 world tour, Hania performed across both Japan and Australia. While in Japan, Hania spoke with our Kawai Japan team about her unique sound, her interest in upright pianos, and her impressions of Chopin’s music.

This is your second visit to Japan. How did you find the Japanese audience at your Tokyo concert? Were there any memorable moments?

Each visit to Japan is a truly special experience for me. There is something utterly fascinating and inspiring about Japanese culture and people that leaves me feeling nurtured and deeply moved. Performing here is an extension of that experience, as many elements differ from my tours in Europe, North America, or Australia. The Japanese audience is incredibly focused—some might describe them as quiet, but I perceive it as a beautiful attentiveness that fills the air. There’s

a sense that every moment in the room is significant and precious, which naturally makes me want to give my best performance.

The atmosphere before and after the show is also unique, carrying a tangible sense of anticipation and curiosity. As an artist, this kind of reception makes you feel genuinely acknowledged—not just as a performer but as a person, with all the emotions and uncertainties that come with this profession. I was deeply grateful to present my full show, complete with lighting design and video projections, to the Japanese audience.

Your music blends classical, minimalism, jazz, and ambient influences. What inspired you to explore a crossover style beyond traditional classical music? How has your journey shaped the sound you have today?

My music is an ongoing journey through different styles and genres. I have a rich musical background, which has influenced my approach—I see music not as a rigid framework but as an open dialogue with diverse ideas. For me, music is a

medium to explore concepts that extend beyond sound and resonate across past, present, and future. Like visual art, music can be abstract, allowing for deep personal interpretations.

I was raised in a household where music was deeply valued. Though my parents were not musicians, they had a great admiration for music, and sound was always an important presence in our home. At the age of seven, I was sent to music school, where I trained in classical piano for 20 years. Even as I followed this traditional path, my love for all kinds of music remained strong. While studying at the Berlin University of Music, I realized that composing and performing my own pieces brought me the greatest joy. That realization led me to fully dedicate myself to my own creations, and I believe it was the right choice.

How have your diverse musical experiences from childhood influenced your current sound?

Looking back, my early exposure to different musical styles shaped the way I approach composition. Having a classical foundation gave me technical discipline, but I was always drawn to sounds beyond that realm. Over time, I found joy in merging these influences, allowing them to coexist in my music. That openness has become essential to my artistic identity.

You played both a Shigeru Kawai grand piano and a Kawai upright piano in Tokyo. What were your impressions of these instruments? How do you decide between a grand and an upright piano?

For many years, I primarily played grand pianos, as they are the standard in classical music. But one day, someone introduced me to recordings of Nils Frahm playing an upright piano, and it completely changed my perspective. In the classical world, uprights are often seen as inferior, so I had rarely encountered them in a serious performance setting. But I was captivated by their sound—clear yet soft, and beautifully muffled when using felt. This discovery felt so fresh and inspiring that, for a time, I chose to play only uprights, avoiding grand pianos altogether.

After some years, I felt ready to return to the grand piano while also incorporating other keyboards to further expand my sound. I wasn’t interested in imitating one instrument with another but in highlighting their individual characters. That’s why, in my show, I included both the grand and the upright, switching between them to create shifts in tone and texture—sometimes even within a single piece.

You also play a variety of other instruments. How do you perceive the difference in sound between acoustic and electric instruments when composing?

My musical language is deeply rooted in acoustic instruments because I primarily identify as a pianist. My compositions emerge from a physical, visceral dialogue with the instrument. I approach electric instruments in the same way—I like to carefully explore their possibilities to bring out the most vivid and flexible expressions. I’ve been using the Prophet 08 synthesizer for many years. While it’s not an unusual instrument, I still find it endlessly inspiring. Right now, I’m working on a setup with twin synths, and I’m excited to see how much new depth I can uncover.

Have you ever composed music without the piano?

Yes, and I really enjoy it. I compose a lot for film and theater, where directors often encourage me to experiment with different instruments. I especially love working with strings and woodwinds—flutes and clarinets in particular.

Your music often evokes shifting landscapes and colors. How do visuals influence your creative process? Do you draw inspiration from visual elements?

Absolutely. I’m a highly visual person. My father is an architect, which I believe shaped the way I observe the world and my strong interest in visual education. As an only child, I spent a lot of time alone, immersed in an imaginative world, and I see that influence in my music today.

Much of my inspiration comes from visual arts, literature, cinema, and philosophy rather than from music itself. With the accessibility of music today, it’s easy to generate new ideas, but I intentionally limit my listening to avoid repetition. I typically listen to the radio in the morning and revisit favorite classical records in the evening—but sometimes, I crave complete silence. Engaging with different artistic mediums and translating their ideas into my musical language is a daily practice for me. It’s similar to learning a new language—each word becomes vivid, and the effort to fully understand it creates a personal bond. I’m deeply fascinated

by the process of translation and cultural exchange, and I try to recreate that experience in my work.

The post-classical genre has grown significantly in recent years, especially after the pandemic. Why do you think this music resonates so strongly with listeners worldwide?

I think it’s a response to overstimulation—the constant noise, chaotic motion, and even aggression in the modern world. While I see the appeal of post-classical music, any genre that gains mainstream popularity risks becoming formulaic and commercialized. It’s interesting that this movement is only now reaching a broader audience, despite minimalist and repetitive music having existed for decades through composers like Philip Glass and Steve Reich. Perhaps their compositions were still too radical for the average listener at the time.

I hope musicians in this genre continue to expand their sonic palette, pushing beyond what could be labeled as ‘easy listening.’ While I respect what modern classical music has brought to our collective sensitivity, if it ever starts to feel too comfortable, that’s a sign we need to shake things up.

As a Polish artist, what does Chopin mean to you? Is there a particular piece that has inspired you?

Like many others, I deeply admire Chopin’s music. I don’t listen to it as often now, but I feel it’s part of my DNA. Studying classical music at the Chopin University of Music in Warsaw was an incredible privilege—it’s where Chopin spent his early years, and where his heart remains. I still follow the Chopin Competition and have immense respect for the incredibly talented musicians who participate. For years, it was my personal dream to enter the competition as well.

There’s something mysterious about Chopin’s music—it feels similar to other Romantic composers, yet it isn’t. It has a unique, almost enigmatic quality that reminds me of Bach’s music, which also seems to transcend human nature. Chopin’s music carries a deep sense of nostalgia, a longing that resonates strongly with people from Slavic countries. That universal emotion might be why his music continues to touch so many hearts.

If you were to give advice to children starting to learn an instrument, what would be your most important message?

Stay curious. Stay humble

The post Hania Rani 2025 Tour Interview appeared first on Kawai Australia.

The Little Lev 2025 – Australian National Piano Competition for Children

Hugh Raine — Wed, 19 Mar 2025 06:02:47 +0000

The Little Lev's Inaugural Australian National Piano Competition for Children 2025

Kawai has proudly partnered with the The Lev Vlassenko Piano Academy to present The Little Lev’s Australian National Piano Competition for Children (ANPCC) in 2025. This exciting new initiative for young pianists, piano teachers, and music lovers throughout Australia and New Zealand, will include a collection of competitions, performances, masterclasses, and educational activities for you pianists.

This inaugural Australian National Piano Competition for Children has been inspired by the Lev Vlassenko Piano Competition which has been running for over 25 years. The corresponding Little Lev Academy Festival, started in 2023, demonstrated that there was a significant need for a junior equivalent of the main Lev Vlassenko Piano Competition, and so the Little Lev Academy created this national competition for promising young pianist. This will be the first time a competition with a single piano focus for young pianist will be held at this scale across Australia and New Zealand.

The Competition has been designed as a holistic music education and developmental experience to encourage and support proficiency and mastery of the piano in children aged 6 to 13. It will also provide a unique opportunity for the best new talent in Australia and New Zealand to fully realise their creative potential. Applicants will interact with some of the highest calibre national and international musical minds who will focus on the unique talent of each young musician.

Applications for Australian National Piano Competition for Children 2025

Applications, including audition video, open on 15h March and close 1st May, 2025.

Specific application details and prize categories can be found on The Lev Vlassenko Piano Academy home page.

Lodge your application through the official application page.

Competition Week

The Australian National Piano Competition for Children (ANPCC) will be held from July 10th to 13th, 2025, at Thomas Dixon Centre, Brisbane.

The post The Little Lev 2025 – Australian National Piano Competition for Children appeared first on Kawai Australia.

Keeping Students Motivated and Engaged with Piano

Hugh Raine — Mon, 17 Mar 2025 05:51:26 +0000

Keeping Students Motivated and Engaged with Piano

As we embark on another promising year of music education, it is valuable to reflect on the reasons why some students discontinue their lessons, and explore strategies to enhance their engagement and long-term commitment. Understanding the factors behind student drop–out is crucial for creating an environment that fosters sustained interest and progress in music learning. This article will analyse 5 common causes of attrition and provide 7 comprehensive solutions that can benefit both new and experienced teachers.

Top 5 Common Reasons Students Quit Music Lessons

1. Lack of Enjoyment

A primary reason students discontinue music lessons is a lack of enjoyment. When lessons become repetitive, overly rigid, or disconnected from a student’s personal interests, motivation declines. With numerous extracurricular options available, as well as social pressures and academic demands, music must remain one of the student’s most rewarding pursuits to retain its priority in their schedule.

2. Perceived Lack of Progress

Students may feel discouraged if they believe they are not advancing in their musical abilities. This sense of stagnation can lead to frustration and diminished motivation. While actual progress may be occurring, the absence of tangible milestones or recognition can result in students feeling unsuccessful. Without structured feedback or measurable achievements, students may develop the misconception that their efforts are not yielding results.

3. Competing Commitments

Balancing music lessons with sports, academic responsibilities, cultural activities, and social engagements can be challenging. When students struggle to allocate sufficient practise time, they may experience slower progress, which, in turn, diminishes their motivation to continue. The perception that music is secondary to other commitments can lead to an eventual decline in practice and lesson attendance. Without safeguarding practice slots in a school week, time at the piano often gets postponed or left until the night before the lesson. Candid and realistic conversations (with both students and parents) around where and how music practise can fit into the weekly schedule can be very beneficial. A regular time on regular days for a designated length of time can keep students accountable, and will hopefully yield improvements, which will feed motivation, which then feeds more practise and then greater improvements.

4. Lack of Parental Support

Parental involvement is a key factor in a student’s musical development. Without consistent encouragement, logistical support, and reinforcement of practice habits, students may struggle to stay motivated. Many parents do not prioritise music education to the same extent as core academic subjects, leading to insufficient accountability for practise routines.

5. Financial Constraints

The cost of lessons, sheet music, instruments, and instrument maintenance can be prohibitive for some families. Even if a student is engaged and progressing well, financial limitations may result in discontinuation. Finding cost-effective solutions or alternative funding options is essential to ensuring accessibility. Some potential strategies could include:

Scholarships and Financial Aid: Many music institutions, local arts organisations, and community foundations offer scholarships for students demonstrating commitment and potential. Teachers can assist families by researching and recommending available programs.

Flexible Payment Plans: Offering instalment-based tuition payments or sliding-scale fees based on financial need can help reduce the burden on families facing economic challenges.

Instrument Rental Programs: Purchasing an instrument outright can be expensive, but many music stores and community organisations offer rental programs or rent-to-own options, making access to quality instruments more affordable.

Grants and Sponsorships: Some local businesses and charitable organisations may be willing to sponsor students or donate funds for music education initiatives. Schools and teachers can establish partnerships with such entities to support students in need.

Group Lessons or Hybrid Models: Group instruction is often more affordable than private lessons and can still offer meaningful progress, particularly for beginners. Hybrid lesson models—where students receive a mix of private and group instruction—can also be a cost-effective approach.

Free or Low-Cost Learning Resources: Encouraging students to take advantage of free online tutorials, educational apps, and open-source sheet music can supplement formal instruction while reducing overall expenses.

7 Strategies to Keep Students Engaged with Music Lessons

1. Make Lessons Enjoyable and Interactive

Incorporate elements of play, creativity, and technology into lessons to sustain student interest. Gamification techniques, such as music education apps, interactive theory exercises, and engaging practise challenges, can enhance the learning experience. Apps like Note Rush and Rhythm Cat can reinforce essential skills in a fun and engaging way. Additionally, integrating group activities or duets can create a more social and motivating environment. Here are some app suggestions:

App name	Description	Focus area(s)	Skill level
PiaBook Player	The PiaBookPlayer app allows owners of supported Kawai digital and hybrid pianos to view the notated scores for various classic lesson pieces, and also listen to each piece playing through the instrument’s speakers.	Note Recognition, Rhythm	Beginner to Intermediate
Tomplay	Tomplay interactive sheet music scrolls automatically on your screen in time with the music. Choose the audio track you need and press Play to start the interactive score with the music.	Note Recognition, Rhythm	Beginner to Intermediate
Note Rush	A fun game designed to improve note reading speed and accuracy. Notes appear on the screen, and students must play the correct key on their piano or keyboard. The app listens via the device’s microphone and provides instant feedback.	Note Recognition	Beginner to Intermediate
Flashnote Derby	An engaging app where students identify musical notes to make their horse win a race. It enhances quick note recognition and is especially appealing to younger students.	Note Recognition	Beginner
Rhythm Cat	This app offers a series of rhythm training exercises set to music. Students tap the correct rhythms on the screen, improving their timing and rhythmic skills in an enjoyable way.	Rhythm	Beginner to Intermediate
Musition	Comprehensive music theory training software covering note reading, rhythm, terms, and symbols. It offers customisable exercises and tracks student progress, making it suitable for structured learning environments.	Theory, Terms, Rhythm	Intermediate to Advanced
Ear master	Provides ear training exercises to help students identify intervals, chords, scales, and rhythms by ear. It also includes sight-singing and rhythm clap-back exercises, fostering aural skills and musical imagination.	Ear Training, Rhythm	All levels
Complete Music Reading Trainer	Aims to improve sight-reading skills through progressive exercises. It covers both pitch and rhythm reading, offering a structured approach to mastering sheet music.	Sight Reading, Rhythm	Beginner to Advanced
Incredibox	An interactive music creation app that allows students to explore rhythm, melody, and harmony by assembling a group of beatboxers. It’s a creative tool to inspire musical imagination and composition skills.	Music Imagination	All Levels
Soundtrap for Education	A collaborative digital audio workstation where students can create and share music projects online. It encourages creativity, composition, and understanding of music production.	Music Imagination, Composition	Intermediate to Advanced

2. Set Realistic and Attainable Goals

Establishing structured, achievable milestones can help students recognize their progress. Breaking long-term objectives into smaller, manageable goals fosters a positive feedback loop: consistent practice leads to visible improvement, which, in turn, strengthens motivation. Teachers can also use progress journals or digital tracking apps to document and celebrate milestones, reinforcing a sense of accomplishment. Some students may benefit from mid-week contact to report on practise to keep them accountable!

3. Diversify Repertoire and Encourage Active Listening

Allowing students to explore a variety of musical styles that align with their interests can reignite enthusiasm. Providing accessible arrangements of their favourite pieces ensures that students can engage with music that resonates with them while still developing technical proficiency. Additionally, encouraging students to listen to different interpretations of the same piece, works by the same composer/artist, or other pieces within a genre can deepen their appreciation. Online resources, such as curated playlists (e.g., https://www.concertsforall.com/playlists), can serve as valuable tools for expanding their musical horizons.

4. Encourage Creativity and Musical Exploration

Music education should not be solely focused on performance assessment and exam preparation. Encouraging improvisation, composition, and creative exploration fosters a deeper connection to music. Providing opportunities for students to experiment with creating their own melodies, harmonising existing tunes, or exploring different genres enhances their intrinsic motivation. Composition apps like Incredibox and Soundtrap for Education (mentioned above) can facilitate creativity in a structured yet enjoyable way.

5. Provide Performance Opportunities Beyond Traditional Recitals

Not all students thrive in high-pressure performance settings. Offering alternative performance opportunities, such as ensemble collaborations, casual in-studio concerts, or recording projects, can be beneficial for students who find recitals intimidating. Attending live concerts and professional performances also cultivates an appreciation for music beyond their personal practice.

6. Maintain Open Communication and Adapt to Student Needs

Regular check-ins with students (and parents) can help educators gauge their level of engagement and address concerns before they escalate. A student-centred approach, where lessons are adapted based on individual interests and goals, ensures that students feel heard and valued. Flexibility in teaching methods, as well as aligning instructional content with students’ evolving musical preferences, fosters a more sustainable learning environment.

7. Involve and Educate Parents

Keeping parents informed about their child’s progress and offering guidance on how they can support at-home practice is essential. Providing parents with practical strategies to set up structured practise schedules can significantly impact student retention. Reinforcing that music education is an investment in both academic and emotional development may encourage parents to take a more active role. Music does for the soul what exercise does for the body and sleep does for the mind – it contributes to the thriving existence of us all. Any parent needing convincing about the value of music education should read our previous article: https://kawai.com.au/2023/10/27/benefits-of-children-learning-to-play-piano/

Final Thoughts

Student retention in music education is influenced by a combination of intrinsic and extrinsic factors. By addressing common challenges—such as perceived lack of progress, competing commitments, and insufficient parental support—educators can develop strategies to maintain student engagement. Implementing interactive teaching tools, fostering creativity, and setting realistic goals can create a learning environment that is both enriching and enjoyable. Ultimately, ensuring that students view music as a fulfilling and integral part of their lives will help sustain their commitment to learning and performing long-term.

Prepared by Hugh Raine

The post Keeping Students Motivated and Engaged with Piano appeared first on Kawai Australia.

Yumeka Nakagawa Interview

Hugh Raine — Thu, 02 Jan 2025 01:28:13 +0000

Yumeka Nakagawa Interview

Music is not for competing, but it is for the audience to enjoy.

Japanese pianist Yumeka Nakagawa was born and raised in Germany. Since winning both the Clara Haskil International Piano Competition in 2021 and the Robert Schumann International Piano Competition in 2019, she has built up her career and has received worldwide acclaim. She recently gave a recital in Japan, and the audience was astounded by her talent.

We asked Ms.Nakagawa about her studies up to this point and her concerts using Shigeru Kawai pianos.

What was it that made you start playing the piano?

My sister, who is two years older than me, started to learn and I wanted to do the same. However, I was a student who never listened to what the teacher told me to do (laugh), so it must have been difficult for my teacher and my parents.

So, you had an idea of how you wanted to play since you were a child. Had you already decided early on that you wanted to be a pianist?

It was around the age of 15 that I decided to take the piano seriously. When I attended a seminar, there was a concert at the end of it, and Ms. Akiko Ebi complimented me on my performance. I was very happy when she said, “I look forward to seeing what you will accomplish in the future”. It was a time when I was struggling, as I would compare myself with others. But I decided to challenge myself to do better in response to the warm words given by such a great teacher.

Then you went on to study at the Purcell School in London.

I wanted to study with Mr. William Fong who taught me at that seminar. Mr. Fong was a great teacher who could see the music from a larger perspective and he gave me the opportunity to try out a lot of different repertoires. It changed the way I practiced, and I began to participate more actively in competitions.

You are currently studying at the University of Music FRANZ LISZT Weimar.

I wanted to study with Prof. Grigory Gruzman with whom I now study. I had some connection with Prof. Gruzman, as I had a lesson with him at the seminar in Dusseldorf and he was also a jury member of the International Franz Liszt Competition for Young Pianists in 2014 which I took part in. Another big factor was that my mother thought that I would be able to learn a lot by studying with Mr. Gruzman.

As we see in your performance and career today, it seems that Mr. Gruzman’s guidance has really brought great things to you.

Yes, he has helped me develop tremendously. His knowledge is extensive, and he always helps me to think about why a composer wrote in a certain way, and teaches me how to use my body efficiently to produce a good sound. He is very demanding when it comes to sound, and he always tells us, “Not one note should be meaningless”.

You won the Clara Haskil International Piano Competition in 2021. Could you tell us why you decided to participate in this competition?

I had no specific goal in mind. I just wanted to challenge myself so that I could pursue my own musical development. At that time, I had been studying with Mr. Gruzman for only about six months, and I was still going through many changes, so I never thought I would win a prize.

Ms. Nakagawa, you have achieved remarkable results in many competitions, and I feel that it is your sincere attitude towards music that has captured the hearts of many people. When I heard your recital at Hamarikyu Asahi Hall the other day (11^th of September in 2024), I felt that your sound was truly beautiful, and that every note seemed to be speaking to us as if they were words.

Fundamentally, music is not for competing, but it is for the audience to enjoy. And I think it is the same in the case of competitions. Of course, since judgements are given, it is difficult not to be conscious of these results when challenging oneself, but I think it is important to give a performance that one enjoys and is happy with, rather than to be obsessed with it. I believe that this ultimately leads to good results.

There are more opportunities to hear you perform in Japan in the near future. In 2025, on January 10th and 11th, you will perform at the New Year’s Concert with the Fuji Shizuoka Symphony Orchestra.

I will perform Chopin’s Piano Concerto No.1. I played Chopin’s Concerto No. 2 in the finals of the Clara Haskil International Piano Competition, but this will be my first time to play No.1, so I am very much looking forward to it. Chopin is one of my favorite composers whom I studied a lot at the junior course of the Robert Schumann University of Music and Media when I was a junior high school student. There is something about Chopin that moves me every time I play his works.

The piano for this concert will be a Shigeru Kawai piano by KAWAI.

Pianists are to play on a different piano at each venue, so we’re always apprehensive about whether we can produce the sound we want. However, when there is a Shigeru Kawai piano, I feel confident that “Today, it will go well!”. There is a depth in the sound and the range of sound is diverse which helps to create new ideas when playing. If you compare it to colored pencils, you can imagine that what you can draw with 12 colours differs from what you can draw with 24 colours. Also, the response of the keys is so great that it is easy to feel how you are moving the hammers. I feel as if I am connected to the instrument. I will be performing a new piece in this concert, but I am sure the Shigeru Kawai piano will help me.

You also have a CD coming out from King International, and I look forward to your upcoming activities. Please tell us about your plans for the future.

I am about to graduate from university, and I am considering where to go next. I would like to continue my studies as well as my performance activities. I would also like to play all the sonatas by Mozart so I am currently in the process of gradually expanding my repertoire. I would like to prepare myself well for the day that you will hear my performance.

Yumeka Nakagawa

Yumeka Nakagawa is the 2021 Prix Clara Haskil recipient (Concours International de Piano Clara Haskil), as well as winner of the prestigious competition’s Audience Award and Children’s Corner Award. She was also the first prizewinner at the 2019 International Robert Schumann Competition (Düsseldorf) and second prizewinner at the International Franz Liszt Competition for Young Pianists (Weimar) in 2014. After winning the federal Jugend Musiziert Competition in 2014, Yumeka was granted a scholarship by the Carl Bechstein Stiftung which led to invitations from numerous venues across Germany. Since 2019 she has appeared on the stages of the Wigmore Hall in London, Tonhalle Düsseldorf and Rachmaninoff Hall at the Mariinsky Theater. Yumeka currently pursues her bachelor’s degree at the Hochschule für Musik Franz Liszt Weimar with Grigory Gruzman.

Written/interview by Shinnosuke Nagai (Music journalist)

Interview Translation: Midori Tamura and Miho Ebihara

Prepared on-site by Hugh Raine

The post Yumeka Nakagawa Interview appeared first on Kawai Australia.

Learning the Score (for advanced pianists) by Dr Katherine Chi

Hugh Raine — Wed, 11 Dec 2024 01:12:21 +0000

Inversion, Invention, and Realization

Music, with its transformative power, has the unique ability to create a universe of sound that touches the soul and illuminates human meaning, expression, and understanding. Great pianists strive to create what my late teacher, Russell Sherman, called the “ineffable and inimitable” sound that- “sustains and infuses the universe.” This lasting impact and importance can only emanate from superb mastery of the musical content.

The great Russian pianist and teacher, Heinrich Neuhaus, on the first page of his book “The Art of Piano Playing,” reinforced the importance of mastery of the music score and lamented “that the content, i.e. the music itself (what we call “the artistic image”) is not given its due, attention being focused mainly on the technical mastery of the instrument.”

Every performance […] consists of three fundamental elements: the work performed (the music), the performer and the instrument. Only a complete mastery of these three elements can ensure a good artistic performance.

And it turns out that the order in which one develops these three masteries matters greatly to the artistic expression one can achieve. If we now know that mastery of the musical score is the sine qua non, that the mind and ears must be nimbler, more agile, and ahead of the fingers, how does one begin to navigate the terrain of the music score so that the artistry leads and lifts from the fundamentals of technical brilliance, creating a compelling performance?

Admittedly, the journey to mastering a score is complex. Perhaps I can offer a few tangible ideas to help frame this journey. When you begin a new piece, start with a deep and extensive practice of looking at a musical score away from the instrument. This is like having a direct conversation with the musical content, with physical obstacles and considerations removed. Engage first with the complexity, logic, and creation of musical ideas, and over time, create and continually refine an informed blueprint of artistic image. This ongoing refinement will guide both your creative intention and the development of your physical technique to achieve that intention, ensuring that your skills are always in service of the highest ideals of music.

The work of a musician is much like a researcher or detective solving a mystery, and regardless of the level of the student, here are a few simple and basic questions that need to be addressed and answered away from the piano as you begin to form your artistic image and blueprint:

Scanning the score:

Glance at the whole score. What do you see?

Acknowledge all the markings and understand that each one is an essential

component of creating a musical image.

Do you understand all the markings and terminology written on the page(s)? If

not, find the answers before proceeding.

Determine the terrain:

After considering your answers above, are you able to form some ideas of what

the music is trying to communicate? For example, how are all the elements in

the music score used to describe the character?

Describe where and when the character changes over the arc of the piece.

What are the general components of the rhythm that bring the piece to life? Can

you describe and feel this rhythm away from the piano?

Acquaint yourself with the melodic line. Can you describe what the melodic line

is expressing? Can you sing it? Can you hear that what you sing truly expresses

the character?

What are the textures and harmonies that support the character?

Distribution and description of musical components:

After considering your answers above, are you able to form some ideas about

how to distribute the different components? For example: what are the shapes

and lengths of the melodic lines / and how and to what effect are they put

together? Apply this to the harmony and rhythm. Which elements in the music

come to the forefront, to the background, or somewhere in the middle?

Realization of the score:

Begin to translate all that you have answered above to the physical aspects of

performing. As you think about your physical practice, how will you ask and

guide your ears and fingers to reach for the musical content as you build

Technique?

Tone and Intonation: how do you translate and pronounce the musical material

to support what you are trying to express?

Other things to consider:

What do you know about the composer?

What do you know about the period when the piece was composed?

Is there any context about why or how the piece was composed?

Can you describe the style of the piece?

Are there any existing articles and analyses of the piece worth considering that help support or contradict your original ideas about the piece? These are some ideas to start working with a musical score. No two interpretations are identical. Can you see different ways of looking at the score?

The path to an enlightened interpretation of a score is never straightforward. As you discover new details in the score, new ideas often emerge and reveal the need to rethink redistribute, revisit old ideas.

Written by Katherine Chi

Prepared by Hugh Raine

The post Learning the Score (for advanced pianists) by Dr Katherine Chi appeared first on Kawai Australia.

The Different Schools of Piano Playing

Hugh Raine — Wed, 11 Dec 2024 01:10:08 +0000

What ‘School of Piano playing’ are you?

Have you ever done a deep dive into your ‘pianistic heritage’ or wondered where your style, technique, or performance practices come from? We investigate the most notable piano traditions. Which of these resonates with you the most?

The world of piano playing is marked by a variety of pedagogical traditions, often referred to as “schools”. Several studies have shown that it is possible to identify major trends in piano performance based on aesthetics, techniques, and interpretational approaches to things like tempo, tone, and polyphonic clearness (European Piano School). This article delves into the characteristics, strengths, and potential weaknesses of the most prominent schools: the Russian, French, English, German, Italian, and the more modern Taubman Method.

The Russian School

The Russian School of piano playing is renowned for its focus on technical precision and physicality. Emerging during the Soviet era, it emphasised producing competition winners and promoting national prestige through music. The Russian technique is characterised by a powerful, orchestral sound achieved through the use of the entire arm rather than just the fingers. This approach allows pianists to produce a deep, resonant tone with a strong dynamic range.

One of the distinguishing features of the Russian School is its emphasis on polyphonic texture. Russian pianists are trained to create a multi-layered sound, with each voice in the music clearly articulated and dynamically independent. This technique is particularly effective in compositions by Rachmaninoff and Prokofiev, where the interplay of different musical lines creates a rich, immersive experience (Russian Piano School) (Interlude Magazine).

However, critics argue that the Russian School can sometimes prioritise technical prowess over musicality, leading to performances that may lack emotional subtlety. Despite this, the Russian School has produced many legendary pianists, including Sergei Rachmaninoff, Sviatoslav Richter, and more recently, Evgeny Kissin and Daniil Trifonov (Interlude Magazine) (Clausius Press).

The French School

In contrast to the Russian focus on power, the French School of piano playing is celebrated for its elegance, clarity, and finesse. Rooted in the traditions of the Clavecinistes (harpsichord players) and influenced by composers like Debussy and Ravel, the French technique emphasises finger agility and a light, precise touch. This approach produces a transparent, refined sound, ideal for the intricate textures of French impressionist music.

The French School places great importance on articulation and control, often described as “jeu perlé” or pearl-like playing. This technique involves producing a series of rapid, detached notes with exceptional clarity and evenness. The influence of Chopin, who spent much of his career in Paris, is also significant, particularly in the emphasis on expressive phrasing and emotional restraint (Interlude Magazine) (Clausius Press).

While the French approach is admired for its technical refinement, it can be seen as less versatile when compared to the broader dynamic range of the Russian School. Notable exponents of the French School include Alfred Cortot, Marguerite Long, and more recently, Hélène Grimaud and Alexandre Tharaud (Interlude Magazine).

The English School

The English School of piano playing, though less frequently discussed, has made significant contributions to piano pedagogy. A key figure in this tradition is Tobias Matthay, who emphasised a natural, tension-free technique. Matthay’s approach focuses on the use of arm weight and relaxation to produce sound, advocating for smooth, fluid movements rather than forceful playing.

English pianists are known for their refined touch and intellectual approach to interpretation. This school values sensitivity and a quiet intensity, often resulting in performances that are perceived as introspective or even aloof. The influence of Clara Schumann, who taught many prominent English pianists, is also noteworthy in this tradition (Interlude Magazine) (Clausius Press).

The English School’s emphasis on touch and sound makes it particularly well-suited to the nuanced repertoire of composers like Schumann and Brahms. However, this approach may lack the dramatic impact of the Russian technique. Notable figures in the English School include Myra Hess, Clifford Curzon, and John Ogdon (Interlude Magazine).

The German School

The German School of piano playing, rooted in the traditions of the 19th and early 20th centuries, is renowned for its emphasis on musical architecture. This school traces its origins to influential pedagogues and composers like Ludwig van Beethoven, Carl Czerny, and even Franz Liszt. German piano technique is characterised by a strong emphasis on legato playing, a rich tonal palette, and the use of weight and arm support to produce a full, resonant sound. The approach often includes meticulous attention to phrasing and articulation, aiming to achieve clarity and expressiveness in performance. Pianists such as Wilhelm Kempff, Walter Gieseking, and more recently, Alfred Brendel, exemplify the German tradition with their profound interpretations and technical mastery. The German School’s influence is also evident in its systematic approach to piano education, focusing on developing a solid technical foundation and a deep understanding of musical structure and style (Interlude Magazine) (Clausius Press).

The Italian School

The Italian School, while not as widely recognised as the others, offers a unique perspective on piano technique. Vincenzo Scaramuza, a key proponent of this tradition, advocated for a natural, tension-free approach similar to Matthay’s. The Italian technique emphasises bel canto (lyrical) principles, encouraging pianists to think of their playing as a form of singing. This approach helps pianists achieve a lyrical, expressive performance, particularly effective in the Romantic repertoire.

Italian pianists focus on fluidity and expressiveness, often employing rubato and other expressive techniques to bring out the musicality of a piece. This school is particularly well-suited to the operatic influences in Italian music, fostering a strong sense of phrasing and lyrical beauty (Clausius Press).

The Taubman Method

The Taubman Method, developed by Dorothy Taubman, represents a more modern approach to piano technique. Building on principles similar to those of Matthay, the Taubman Method emphasises ergonomic, natural movements to minimise tension and prevent injury. This method advocates for rotational movements of the hand and forearm, coordinated with the fingers to achieve speed and accuracy.

Taubman’s approach contrasts with the Russian technique, which often involves a more vertical wrist motion. By focusing on horizontal hand movements, the Taubman Method aims to create a more efficient and sustainable technique. This method has gained popularity for its emphasis on physical well-being and its ability to address and correct technical issues that can lead to pain or injury (Music: Practice & Theory Stack Exchange) (London Piano Centre).

Comparative Analysis

Each school of piano playing offers distinct advantages and potential drawbacks. The Russian School’s emphasis on technical precision and powerful sound can produce pianists with formidable skills, but may sometimes result in performances that lack emotional nuance. The French School’s focus on clarity and elegance fosters a refined technique, though it may be perceived as less robust. The English School’s emphasis on touch and intellectual interpretation promotes sensitivity, but may lack dramatic intensity. The Italian School’s lyrical, expressive approach is ideal for Romantic repertoire, while the Taubman Method’s ergonomic focus provides a sustainable technique that minimises injury risk.

In contemporary piano pedagogy, these distinctions are becoming less pronounced due to globalisation and the exchange of pedagogical ideas – you may find you belong to a number of different schools of playing, not just one! Pianists today often blend elements from various schools to develop a more versatile and individualised technique. This synthesis allows musicians to draw on the strengths of each tradition, creating a more holistic approach to piano playing. By understanding and integrating these various approaches, modern pianists can achieve a balanced, versatile technique that enhances both technical proficiency and musical expression.

We hope you enjoyed reading about the lineage of different piano schools and hope you found things that resonate with your own playing and/or teaching styles.

Written by Andrew Rumsey

Prepared by Hugh Raine

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Pianoteq Shigeru Kawai SK-EX instrument pack software

Hugh Raine — Mon, 11 Nov 2024 01:37:21 +0000

Shigeru Kawai SK-EX instrument pack released for Pianoteq software

Shigeru Kawai SK-EX instrument pack released for Pianoteq software Kawai Japan is pleased to announce that the stunning sound of the Shigeru Kawai SK-EX concert grand piano has been added to the acclaimed Pianoteq software, developed by French company Modartt S.A.S.

Developed in collaboration with Kawai, the newly released Pianoteq instrument pack uses advanced physical modelling technology to reproduce the unique tonal characteristics of the Shigeru Kawai SK-EX concert grand piano. This high fidelity sound profile within Pianoteq software, now give music producers the opportunity to utilise the entire pianos magnificent range of sounds in much greater depth. This remarkable instrument, meticulously handcrafted in Ryuyo Japan and prepared to perfection by Kawai’s elite Master Piano Artisans, has graced the stages of concert halls around the world, and was previously selected as one of the official pianos of the 18th International Chopin Piano Competition. The SK-EX instrument pack for Pianoteq marks the first time that a software development team has visited the Shigeru Kawai R&D Laboratory in Ryuyo to record and analyse the SK-EX grand piano. This special collaboration between Kawai and Modartt engineers has resulted in a high-quality, physically modelled instrument that Pianoteq’s community of pianists, producers, and composers is sure to appreciate.

Philippe Guillaume, Modartt founder and CEO: “Philippe Guillaume, Modartt founder and CEO: “For many years, the mutual interest between Kawai and Modartt has steadily grown. Today, it takes shape through a collaboration on the first physical model of the Shigeru Kawai SK-EX concert piano. Virtually reproducing an instrument of such exceptional quality was a challenge that the Modartt team embraced, and on behalf of our users, we warmly thank Kawai for their trust.”

Philippe Guillaume and Kentaro KawaiPhilippe Guillaume, Modartt S.A.S. founder and CEO greeting Kentaro Kawai, President, Kawai Musical Inst. Mfg. Co., Ltd.

Kentaro Kawai, President, Kawai Musical Inst. Mfg. Co., Ltd.: “Modartt’s passion for creating excellent piano sounds aligns with Kawai’s dedication to piano craftsmanship. We are delighted to have been able to collaborate on the development of the physically modelled Shigeru Kawai SK-EX.”

Kohtaro Ilimura, lead developer, Technology Planning Group, Kawai Japan: “Our friendship with Modartt began with the planning and development of the VPC1. At that time, Philippe and I discussed the idea of incorporating the sound of the SK-EX into Pianoteq. I am thrilled that we were finally able to bring this vision to life, and hope piano enthusiasts enjoy the sound of the Shigeru Kawai SK-EX modelling in Pianoteq.”

Kawai and Modartt staff analysing the tonal characteristics of the Shigeru Kawai SK-EX concert grand piano.

The Shigeru Kawai SK-EX instrument pack can be purchased via the Modartt website, and is included for evaluation with the latest Pianoteq v8.4, compatible with Windows, Mac, and Linux desktop systems, as well as iOS/iPadOS devices. Kawai Japan recommends pairing Pianoteq with the VPC1 virtual piano controller, which features a custom touch curve designed specifically for the software

Shigeru Kawai SK-EX concert grand piano

Unveiled in 2001 as the flagship instrument of the Shigeru Kawai line, the SK-EX concert grand piano is hand-crafted in limited numbers following a unique ‘prototyping’ creation process. In order to achieve the supreme range of expression required in a concert piano, each instrument utilises a variety of carefully selected materials, with premium aged spruce soundboards. Shigeru Kawai instruments adopt the advanced Millennium III keyboard action, featuring extended wooden keys and advanced ABS Carbon action parts, providing superior speed and responsiveness than conventional wooden action parts, allowing pianists to express a greater range of feeling and emotion in their performance.

The post Pianoteq Shigeru Kawai SK-EX instrument pack software appeared first on Kawai Australia.

Shigeru Kawai International Piano Competition 2025

Hugh Raine — Wed, 30 Oct 2024 04:09:06 +0000

5th Shigeru Kawai International Piano Competition

Since the first competition, we have been delighted to host over 1,000 pianists from more than 20 countries and regions participating in this competition. The Shigeru Kawai International Piano Competition has grown in popularity and is now a significant global event. This success is entirely thanks to the support and cooperation of all those involved, and we would like to extend our heartfelt gratitude to all of our supporters.

We are excited to welcome new and returning pianists to our 5th competition in 2025. The First Prize winner of the 2025 competition will receive the First Prize Trophy, Certificate of Commendation, and 2,000,000 yen (JPY) prize. With the Prize Winners Concert held at Kawai Omotesando Concert Salon “Pause” on August 3, 2025. There will be a total of 7 Prizes awarded by the Jury, comprised of both Japanese and international piano professionals. The competitions Final Round will be held in the heart of Tokyo, at the Shibuya Cultural Center Owada.

Application Information

Applications Open

Online applications for the Shigeru Kawai International Piano Competition open on November 27th 2024, and close on January 15th 2025 at 0:00 (Japan Time).

Eligibility

The Competition is open to pianists of all nationalities born on or after January 1, 1996.

Application Procedures

The Full Application involves the creation of your “My Page” on the official Competition website (https://skipc.jp), and complete the application form there. From your My Page, you can then upload supporting documents including high resolution photos (from front, chest up), official identification documents (such as a passport), and submission of performance video via a URL link (such as an unlisted Youtube link). Follow this link for more information about the application process.

Repertoire

Applicants must play a piece from Chopin: Etude Op.10 or Op.25, and a second piece of their choosing. Total playing time of all pieces should be no more than 15 minutes, and the playing order can be decided by the applicant. Visit the official website for full repertoire information.

Winners’ Prizes

First Prize	JPY 2,000,000 \| Certificate of Commendation \| Trophy
Second Prize	JPY 1,000,000 \| Certificate of Commendation \| Trophy
Third Prize	JPY 500,000 \| Certificate of Commendation \| Trophy
Fourth Prize	JPY 200,000 \| Certificate of Commendation
Fifth Prize	JPY 100,000 \| Certificate of Commendation
Sixth Prize	JPY 50,000 \| Certificate of Commendation
Audience Award	JPY 50,000 \| Certificate of Commendation \| Souvenir

Need Help with your Application?

If you have questions about competition applications which are not explained on the competition website, please feel free to reach out to us on info@kawai.com.au for assistance

Message from Mr Kentaro Kawai

In commemoration of our company’s 90th anniversary, the Shigeru Kawai International Piano Competition was established in 2017 and has now reached its 5th edition.

As we approach our 100th anniversary in 2027, we are reaffirming and developing the “Kawai Ism” that we have continuously inherited for 97 years since our founding. This spirit embodies the pursuit of high ideals, never yielding to adversity, and being sincere and warm-hearted. With renewed determination, we will carry this forward. Beyond our 100th anniversary, Kawai will continue to strive towards our ultimate goal of building the world’s finest pianos for the next 100 years.

We are truly looking forward to seeing the wonderful performances you will deliver with the Shigeru Kawai pianos, the realisation of our dreams, during this competition.

Kentaro Kawai, President of Kawai.

Shigeru Kawai Competition History and Purpose

The Shigeru Kawai International Piano Competition was established in 2017 in commemoration of the 90th anniversary of Kawai Musical Instruments Mfg. Co., Ltd. The aim of the competition is contributing to the development of musical culture and promoting international exchange by finding and nurturing pianists of the next generation from around the world.

The Competition has two unique characteristics:
The first is that Shigeru Kawai grand pianos are utilised throughout the competition. The Shigeru Kawai full concert piano SK-EX, which will be used from the 1st Round to the Final Round, has been adopted as the official piano for many prestigious international piano competitions for over 20 years since its debut in 2001, and is highly acclaimed as an instrument capable of producing a wide range of tones by performers.
The second is that the repertoire for the final round is a piano concerto performed by two pianos. Adopted from the second edition, this two-piano concerto will feature the orchestral part performed by Andrey Pisarev, a professor and head of the piano faculty at the Moscow Conservatory and a world-renowned pianist, and Alexei Melnikov, a distinguished young pianist who, like Prof. Pisarev, also studied under the late Prof. Sergei Dorensky.
With their powerful musical support, the finalists will have the opportunity to express their music to the fullest.

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Best piano hand exercises to improve your technique and dexterity

Hugh Raine — Sat, 10 Aug 2024 01:19:10 +0000

Best Piano Warm Up Exercise to Improve Technique

Want to warm up your fingers like a professional pianist?

I’m excited to share this amazing finger exercise that can be played by pianists of nearly every level – this is my favourite warm up that helps build speed, dexterity, and finger independence. I learned this from Professor Marcela Fiorillo when I was a Masters student at the Australian National University, School of Music. What I love about it is the comprehensiveness and range of difficulty. This is a true gem and a fun and satisfying addition to any piano warm up routine!

Here are the instructions to take this exercise from easy to difficult:

There are six different combinations of four notes, each pattern repeating three times in C major. Learn each pattern, hands separately, until you can play them clearly, evenly, and confidently through all six variations. Use fingers 1-4 (the ‘inner’ fingerings marked) and focus on even articulation, dynamics, and tone. For younger students, the spacing of one-octave is sufficient, but for older students, two-octave spacing may be more comfortable for the angle of the hands.

Once you have mastered step one, introduce slight accents every three notes (marked by the tenuti). This results in accents appearing on a different note in every pattern of four, ensuring every finger gets an accent. This changes the metre from a ‘note grouping of four’ to a ‘rhythmic grouping of three’.

Next, change the fingering to use fingers 2-5 (the ‘outer’ fingerings marked). This adds complexity due to the general weakness of fingers 4 and 5. Aim for clear and even articulation, with appropriate accents when comfortable. Try to relax the thumb when using this hand position…easier said than done!

The final step is to play both hand positions once each and move through all 12 major keys. The right hand will always play the first four notes of the scale (lower tetrachord), and the left hand will play the last four notes of the scale (upper tetrachord), with the middle notes always being the tonic. Gently increase the speed, always ensuring the fingers not in use remain relaxed.

This exercise is ideal for a wide range of skill levels and helps build finger independence, stamina, speed, and strength. There is no race to get through steps one to four, so take your time! I hope you enjoy this exercise as much as I have!

Piano Sheet Music for this hand exercise

Best Hand Warm Up in G Major Sheet Music Download

Best Hand Warm Up in F Major Sheet Music Download

Piano Finger Exercise Play Along Example

Why are finger exercises important?

Incorporating piano finger exercises into a daily or weekly practice schedule offers significant benefits for pianists of all levels. Exercises (not etudes or studies) such as those by Hanon, Brahms, Dohnányi, Pischna, and Wieck, to name a few focus on enhancing finger strength, independence, agility, and speed, which are critical for executing complex passages and maintaining control over dynamics and articulation. Regular practice of these exercises helps build muscle memory and improves overall technical proficiency, enabling pianists to tackle challenging pieces with greater ease and confidence. Moreover, finger exercises can serve as effective warm-ups, preparing the hands and fingers for more intensive practice or performance sessions.

Is there a downside to these hand excerises?

There are no practical drawbacks to finger exercises (practised with good posture and without arm tension), however there are some considerations. One concern is that they can consume valuable practice time, potentially detracting from the practice of repertoire. Young students may find these exercises monotonous and unengaging, which can lead to decreased motivation and enjoyment in their practice. To mitigate this, introducing variety and creativity into the exercises, such as integrating rhythmic variations or incorporating them into short, playful drills.

While piano finger exercises are essential for technical development, it is crucial to balance them with other aspects of piano practice to maintain a well-rounded and engaging practice routine.

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