Your Brain on Playing the Piano

 

Want a full body workout? Play the piano! It seems obvious: sensory processing, motor control, hand-eye coordination, mental concentration, mental agility, and multitasking. It also builds mental and muscle memory.

Three parts of the brain particularly benefit from piano playing: the motion, visual and auditory cortices. Both sides of the brain and the bridge between those two sides are involved. It has been found that musicians’ brains can be larger structurally: attention, hearing and listening, emotion, memory, motor actions to produce sound, and learning.

Brain-related reading skills specifically improve with piano playing. Notes constitute a universal and unique language, which necessitate decoding just as alphabetic-based languages do. Beyond reading letters, notes reading is translated into hand motions. Each language has its own rhythm, which can be facilitated through music as composers optimally link oral language with musical rhythm. Indeed, when playing songs in different languages, the performer can cognitively and kinesthetically internalize those language-specific characteristics.

Likewise, mathematical thinking improves with piano playing. Music theory is mathematically-based in notes and rhythm.  The brain processes the combinations and sequencing of those elements, which reflect mathematical patterns.

All ages benefit, even in terms of brain plasticity (making more connections between neurons and creating new circuits, for instance) with consistent piano practice. Such practice also activates creative areas of the brain, facilitating original expression.

Taking piano lessons ramps up the impact of the brain even more: improving reading, expanding vocabulary, interpreting oral prosody emotionally, discerning sounds more subtly, and sequencing verbal information.

In short, playing the piano is a smart idea!

 

When Should Children Start Piano Lessons

Tomoko asserts, “You can start learning how to play the piano at any age.” However, starting piano lessons too early can be a waste of money. Here are some guidelines.

First, the child should WANT to learn how to play. If there is a piano or electric keyboard around, does the child show interest and gravitate to it? Pushing a reluctant child into piano lessons invites frustration and family fights. 

Is the child emotionally ready? Can the child follow directions? Is the child willing to accept instruction – and criticism? Does the child have a long enough attention span to sit still, practice and persevere?

Is the child physically ready? Can the child place his hands parallel to the ground when seated so he doesn’t have to strain when reaching the piano? Does the child have enough finder strength to press the piano keys down effectively? (A good way to tell is if the child can hold onto objects without dropping them.) Does the child have sufficient fine motor skills; for instance, can he color within a picture’s lines and draw letters accurately? Does the child have enough stamina to last through a 20-minute lesson without getting tired? 

Is the child cognitively ready? Can the child tell between her left and right hand? Can the child count? Does the child know the alphabet? Can the child learn how to read notes?

AND are the parents ready to encourage and support the child? 

Even if children aren’t ready to take piano lessons, they can still be encouraged to become familiar with the piano. They can explore how sounds are made on the piano. They can discover the relationship between the sequence of the keys and the associated pitch from low to high. They can watch people play the piano, and enjoy the music that is created. The piano player can also point out how a piano score notes correspond to the keys, just as letter shapes correspond to sounds (generally). 

Just as there is reading readiness, there is musical reading and performance readiness. And a lifetime of learning and enjoyment.

Off to a Good Start

“The piano is an excellent instrument to play,” asserts Tomoko. “It’s widely available, flexible, and offers so many opportunities to play great music. It’s like an orchestra in one instrument.” 

Parents may want their child to learn how to play the piano. But the interest should come from the child – or whoever is considering starting to learn. Here are some ways to expose you and your child to piano playing:

• Listen to piano music on the radio or online.
• Watch piano performances on TV or online (such as YouTube).
• Go to a music store that sells pianos, and have the staff talk about, and demonstrate, the piano – and the pieces of music to choose from.
•  Find a relative, friend, teacher, or classmate who enjoys playing the piano, and share that experience.

When is a good time to start taking piano lessons? Tomoko recommends age 5 because children develop their small motor skills between ages 5 and 7. Tomoko also says, “At this age, children have no fear.” On the other hand, one can start at any age. "Interest, willingness, and perseverance are the main considerations."

As for talent, Tomoko says, “All students have talent. They just grow at different rates.” 

What should you expect? Tomoko knows that the beginning time is crucial: “The first experience needs to be fun. The teacher needs to be welcoming.” Of her own approach, Tomoko says, “I open the door. I am their passport to visit the country of pianos.” At the same time, first year piano is a learning process. Tomoko cautions: “The piano is not easy to play; you need a long time and patience. It’s a long-term investment.” 

Tomoko also states that learning how to play is a physical process; “The brain and the body need to be coordinated.” Tomoko uses this analogy: “Young children don’t know how to use pencil. Some teachers say you can’t be sloppy; try to be neat and clear. Where finger should be positioned? Posture is important. All those details need to be considered when starting out.”

Right from the start, students need preparation and discipline. They should practice at least ten hours a week. “Every lesson should have a challenge; you need to improve and grow,” claims Tomoko. “It is better to stretch than relax.” At the same time, Tomoko cautions, “Too much challenge is not good. I encourage students to try; I want them to keep their confidence.”

With a strong start and a trusting relationship with a knowledgeable and caring piano teacher,  beginning piano students can look forward to a lifelong skill and love of music that enrichens them.

The Physical Side of Playing the Piano

Playing the piano is not a spectator sport. It uses your whole body. It strengthens your senses of eyesight, hearing, and touch. It requires complex fine-motor and gross-motor coordination. Even your posture is important in playing correctly.

In that respect, the piano is your “tool,” which you have to handle physically. Tomoko explains, “The first year of piano starts the learning process. Just as young children don’t know how to use pencil, so too must they learn how to use the piano.” She continues the analogy, “Teachers will say to the student: ’You can’t be sloppy. You can be neat and clear.’ Some teachers mark the pencil where finger should be positioned. The same advice applies to the piano. Even the finger placement and curve of the hand are important physical skills.” Fine muscle development starts in primary grades, which is a good time to start toning those muscles.

Just as different exercises help different parts of the body, so too does each piano practice session and piece of music. Students warm up with scales and other finger exercises that become automatic, which help in later functions such as key modulations.

“Each piano piece has some kind of physical challenge,” says Tomoko. It may be left- and right-hand coordination, the best finger to use when playing a progression, or stretching the hand to span key distances. Tomoko advises, “Look at each movement. There should be no guessing as to finger motion.” Tomoko also says that memorizing a piano piece includes muscle memory. “That’s why it is important to play the right notes; so your fingers will remember correction.” She reminds the performer, “Exactness is not stiffness. The muscles should be supple, not stressed.”

Tomoko encourages young pianists to stretch themselves, developing their physical techniques by the time they are adults.  Tomoko also associates learning to play the piano to mountain climbing. “You need to go up lots of small mountains. If the road is right, you will reach up. So practice daily, and step nicely.”