Sailing Through Life's Experiences

“Life is a ship you drop into the middle of the ocean,” muses Tomoko. “It is a step-by-step experience, and you have to stand up for yourself.” And each stage of life has its characteristics.

“When you are young, you don’t know,” says Tomoko. “You can’t calculate to the same degree.” That may be why Tomoko contends that “the young are courageous. They have no fear.”

Tomoko states: “The family establishes a philosophy that guides you in solving problems. They help you know what is right and what is wrong.” As a teacher, Tomoko also helps her young students build up power. “Sometimes students choose a complex piece because of its status, to show off, but it isn’t appropriate at their state, and they become miserable.” Tomoko wisely then tells them: “Try it. Then they recognize the difficulty themselves.” Tomoko prepares pieces for her students, and goes through the piece explaining its challenges and how to address them. “Some challenge is good, but 90% challenge is not. You want to keep students’ confidence.”

As one grows up, one experiences how the unexpected happens. “One moment can bring disappointment. You suffer. You have pressure. You have to sacrifice,” Tomoko knows. So she advises: “If you don’t love what you do, then don’t do it.”

With age comes wisdom. “You know not to miscalculate. Experience helps. You know how to push.”

And Tomoko knows that learning is possible at any age. “I planned two years ago that I wanted to go back to performing publicly,” Tomoko remarks. “I have to concentrate and practice to memorize the composition so that at the performance the music comes out spontaneously.”

Growing Strong Children Through Music

Sometimes parents can over-protect their children. They may be afraid of life’s difficulties, and want to shield their children from such dangers. Or parents might under-value their children’s own capabilities. Tomoko asserts, “But kids are strong,” and she shares her thoughts about helping children become strong individuals.

“I sometimes see children come to my studio who are shy or scared,” Tomoko admits, “but I help them find their inner strength.” She will say to them, “Don’t you think you are as good as your peers?” She says as evidence, “They end up doing find when they perform.”

On the other hand, sometimes a child – or the parent – wants to choose a masterful piece of music, such as a Liszt concerto. They want the status of playing such a composition, but it might not be appropriate at their stage of development. “Their motivation may be to show off,” says Tomoko, “but they will be miserable.” Instead, Tomoko asks the student to try it for themselves. “Then they recognize for themselves what is really involved.” If they really want to put in the effort, Tomoko tells them, “I will prepare this piece for you.” Tomoko explains each part, and then they agree on doing the hard work together.

“It’s important to help young people keep their confidence.” Tomoko goes on to day, “If a piece is 35% challenge, that is OK. 90% challenge is not good.”  If a child ‘folds’ from too much of a challenge, then it is wise to stop and choose another piece.” Tomoko says, “The important thing is to keep running, to keep playing and concentrating and learning.” This coping skill is just another way that Tomoko helps the child grow strong: through a balance of support and challenge.  

Tomoko concludes, “And when students succeed through their own hard efforts, they are so proud of themselves.”

The Benefits of Challenge

Sometimes success comes too easy or too soon. There’s a price to pay, in fact several. “Some people become instantly popular. That is not good.” That is not Tomoko’s way.

For instance, Tomoko doesn’t believe in proteges. “They may have technique but they do not have the heart of life experience.” She mentions several proteges who peaked too soon or burned out early. “Think about the champion chess player Bobby Fischer,” she is reminded.

On the other hand, it isn’t necessary to start learning how to play the piano as a child. One of her students started when he was in his 40s; in eight years he was playing Messian. Tomoko adds, “There is a big trend for international competitions among people over 35 years old. These performers are professions, real musicians, even though their day jobs are different.”

Nor is it always good to have an easy time in learning. Tomoko recalls, “I am not gifted . I was the last student in a big class when I was 12. I had to start from the ground up.” She feels, “ It is better to be in a big school and be the worst because it challenges you to do better and learn more.”

Tomoko asserts that one of the best aspects of her teaching is challenging her students to stretch themselves in playing. “Development is important, especially when you are young.” She continues, “It’s better to try a hard piece and do a B+ performance than to go for the easy A.”

Tomoko concludes: “The piano is a lifetime pursuit. It is an idea and a mind set.

The Effort of Effortless Music

It is sometimes considered a great compliment about a performance when it seems effortless. It is true that a labored performance is seldom fun to hear, but does apparently tension-free playing indicate a lack of hard work? Usually not. “Artistry is hard to memorize,” Tomoko knows. She goes on to say, “Each performance has to be completely controlled: simple, clean, and comfortable.”

Tomoko realizes the work that goes behind a public performance, and she appreciates and encourages effort. “The challenge is eighty percent of the music.” Tomoko notes that the pianist may struggle with the form, but that the real challenge is the interpretation. “No one can take away my interpretation.” Part of the challenge that is so rewarding is that each person’s challenge is unique, and it reveals each person’s qualities. “You cannot hide from yourself or how you play,” says Tomoko knowingly. In that respect, Tomoko says that effort should be pure and honest.

Not surprisingly, then, Tomoko’s hard work is not done to impress others, but rather is a self-examination to see how she can improve. She thinks to herself: “I have to try my best? Did I do it well? At the end of the day that’s how I feel.” She judges the ease of accomplishment, and feels most proud when she is able to play a difficult composition with deep understanding and technical competence. Tomoko muses, “If you’re in a zoo, you just get fed. If you’re in the jungle, you have to hunt, and that is good.” Likewise, when effort is made in learning to play and perform a piece, then it becomes more meaningful – and involves the performer more profoundly. The challenge is invigorating.

And playing the piano is a lifetime effort. Tomoko asserts, “Technique never goes away. Experience gets it together.” Tomoko worked as a young girl learning to play the piano: hours before school, weekend lessons that involved waiting hours for her teacher. She made a great effort coming to the U.S. to pursue her love of music.

Not only as a performer but also as a teacher does Tomoko put in effort. She says, “I spend hours thinking about a student’s problem, and how to solve it.” She tells her students that each piano piece is a little challenge. She encourages them to keep trying, to keep moving. She connects playing to mountain climbing, constantly walking up the hill while keeping hold of the music. She continues the metaphor, “When you reach the top and master the piece, then you look back at where you came from. That is a good feeling, a feeling of accomplishment.” As a teacher, Tomoko provides students with direction so they can climb up the musical mountain effectively. Not surprisingly, Tomoko likes the challenge of teaching, and learns from her students’’ growth.

Tomoko’s performance shows the rewards of that lifetime of effort and artistry. The listener gets to enjoy the fruits of that labor.