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.

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.”

Exercising the Piano

Mastering the piano requires exercise, both physical or mental. So asserts Tomoko Hagiwara: “That is why I keep in shape.”

Tomoko states, “Every performance has to be completely controlled. Simple, clean, comfortable.” That level of competence requires hours and months of exercise, both to play well technically as well as to lend meaning to the piece. “Musical form can be challenging. Tomoko remarks, “Artistry is hard to memorize.” In addition, different pieces require additional expertise; Tomoko explains, “Schumann is hard to perform – you need a lot of spirit and imagination.”

Musical playing can start at any age, but its exercise has to be sensitive of developmental issues. “Technical skill is basic, like math,” says Tomoko, “and it grows as the body does.” For instance, some of Liszt’s pieces require a wide hand spread so should be played when the fingers are longer. Bach is easier to play because of his use of chords. “Technique never goes away. Experience gets it together,” Tomoko asserts. “Behind each professional is experience.”

Likewise, interpretation develops as the learner grows emotionally and experiences life.  Tomoko compares musical interpretation to reading: “When you grow up you have a different experience reading the same passage than when you are younger.” So too will the same musical passage take on different meaning as an adult. Mozart is a prime example of that belief: “He is easy for children, but hard for adults,” says Tomoko.

Tomoko links other types of bodily exercise to music. “A music teacher sent a student of hers to ballet school for two weeks, and the student came back with a greater perspective and appreciation of the physicality of music.” Tomoko also believes that music can help other areas of exercise. “Jog with music to escape,” she says, ”Choose music by its rhythm in order to center yourself.”

As a teacher, Tomoko exercises her students mentally in order for them to perform better. “Challenge is good. I tell them don’t start at beginning – start with the hardest.  Then the rest comes easily.  You can’t be sloppy.” She is reminded of a student who practiced at his teacher’s house four hours at a time. “He knew that he must play the piece correctly.”

Listening is another part of the exercise experience. Students should play together, and listen to each other,” says Tomoko. You can stretch your mind – and spirit – by listening to Tomoko’s performance, which is the result of many years of dedicated physical, mental and emotional exercise. Try her take on Liszt: https://www.cdbaby.com/cd/tomokohagiwara3