Time Matters

Time is a central motif in music, not only in composing and interpretation but also in developing musical competence. Tomoko has several insights about various aspects of time within the construct of music.

A key element in music compositions is timing; the notes and measures impact the pace, the rhythm, the tone, and even the physical playing of that composition. Most composers also indicate timing in their pieces textual (such as largo versus presto). This latter timing element is somewhat open to interpretation, and is reflected in different treatments by the performer. Glenn Gould is particularly noted for his unique interpretations, which included variations in timing.

Timing can also be applied to learning how to play the piano. Tomoko asserts that “you can start learning how to play the piano at any age.” However, she does suggest that a good time for children to start is five years old because fine motor coordination usually develops between ages 5 and 7. On the other hand, it is good for the beginning student to be mature enough to read music, and have some cognitive and emotional development. At the same time, Tomoko very much enjoys adult learners: “They bring experience, self-motivation, and musical appreciation.”

Tomoko also believes that timing affects performance. “I do not like proteges; they may have the technique but they seldom have the experience to interpret the piece deeply.” Tomoko is also concerned that children who perform the piano professionally are exploited to some degree. “You need to have a balanced life as you are growing up,” she says. “It is better to delay professional competition and performance until you are an adult.”

Tomoko also chooses piano pieces based on developmental timing. “Mozart can be easy for children but hard for adults,” she asserts. “Because Mozart was first a performer, he wrote music aht is natural to play.” She cautions, “However, Mozart was also a super mathematician and used musical numerology, so he can be very complex.”

Tomoko also notes the amount of time that one should devote to practicing the piano. “You should practice every day, at least one solid hour. Don’t move from the piano bench,” she counsels. “A second hour each day is also good, but you can break it a bit.”

Tomoko realizes that there can be a time for silence. “At some point you might feel depressed and not way to play or hear music. You have to be quiet.” That can be a good time to be quiet in nature, to feel the rhythm of life. It has its own timing.

Never Too Old To Learn

Tomoko teaches students of all ages; “Age is not an excuse for not learning how to play the piano; as long as you are physical able to sit and move your fingers, you can learn.” And she has a special regard for older students.  Tomoko says to them, “It’s OK if your parents didn’t let you plan the piano. Now you have the freedom.”  In addition, Tomoko realizes that some of her students come from other countries where they might not have had an opportunity to take piano lessons.

Tomoko uses a different psychological approach with them: “They are not children.  I don’t have to be as strict with them. Instead, I have to give them hope.”  If they apologize that they started as a child but stopped, she is likely to say: “You weren’t ready then.”

Adults are more likely to be self- motivated if pursuing piano lessons, and are more realistic than children. “Grown ups know how hard practice is,” comments Tomoko, “They understand the challenge.”  She also tells them, “You might not see the results immediately, but you can feel the change.”

Adult piano students also ask more often for feedback: “Am I doing all right??” When it comes to critiquing their playing, Tomoko asks them questions that draw upon their experience and emotional maturity. “What kind of character do you think is the person playing?” Tomoko might give some context for the piece, such as the composition was for a politician or that it was commissioned for a special occasion.  Tomoko also asks the adult student to think about the composer’s personality, and to feel the rhythmic pattern and expression.  

Tomoko has an annual recital just for her older students.  “When Pablo was 96 he performed. I want to honor these lifelong learners.”