What inspired you to write Essential Piano Technique?

After the publication of The Complete Pianist, which is aimed mainly at advanced pianists, many teachers expressed a need for resources which apply the principles of healthy technique to elementary and intermediate pianists. The aim of the Essential Piano Technique series is to give every pianist the chance to start their piano journey with the best possible foundations in technique, so they can progress quickly and confidently and avoid the pitfalls that so many pianists encounter later on. 

When did you first become aware of the importance of healthy technique?

When I was a college student, I hurt my right thumb after practising fortissimo octaves in Liszt’s second piano concerto with a lot of tension. I realised that I needed to fundamentally change my approach to technique, both in my playing and in my teaching. These books are my way of sharing the knowledge and experience I have gained over many years with pianists and teachers now and in future generations.   

Why is healthy technique important?

Healthy technique is good technique – it’s not something cranky or weird. When we watch great pianists play, everything seems easy and effortless. The pianist has balance, coordination and freedom of movement – all the qualities that lie at the heart of good piano playing. A healthy approach to piano technique helps not only to avoid injury, but also to achieve greater agility, faster progress, a more beautiful sound and greater artistic freedom

In Essential Piano Technique, you introduce techniques as movements away from the piano first, before trying them out on the piano. Why is this important?

Piano playing has been described as the most complex neurological activity known to man! We must read notation in two clefs and play the notes accurately while also interpreting the music expressively. Teachers need to help students negotiate all the challenges one at a time to avoid tension setting in.

When introducing a new technique to students, I always start by introducing the movement away from the piano. This avoids any concerns about note reading and accuracy and allows the student to experience the new movement confidently and with ease. This sense of ease is then transferred to the keyboard, first in a simple exercise, then in a short musical piece.

What is the biggest issue with traditional methods of piano technique teaching? 

Traditional methods favoured a high finger action and a heavy dose of mechanical repetitive practice. This approach, in my experience, damages the hands, the ears and the soul!

I never teach technique dissociated from music. For instance, when a student practises a scale, it will be practised as a flowing gesture which is then immediately put into practice, with feeling, in a piece of music. It’s time for the teaching profession to embrace a healthier, musically-focussed technique from the beginning stages.  

What do you mean by musically-focussed technique?

Students need to understand the musical purpose behind any exercises they are learning. In the Essential Piano Technique series, I’ve aimed to introduce all the technical skills in a fun and light-hearted way, with short exercises both at and away from the piano. This leads to an imaginative musical example, either from Aaron Burrows or one of the great Classical composers, so students can immediately put into practice what they have learnt.

What is one thing every pianist can do every day to protect against injury?

Every athlete starts their daily practice with some warm-ups. Pianists can also do this for a few minutes before practice. I have devised warm-ups which are relevant to pianists of all levels, so they can start the day’s practice with relaxed, well-coordinated hands and arms. 

What new techniques are covered in the latest books, Level 2 and Level 3?

Level 2 and 3 take the student from elementary to lower intermediate level (Grade 1 to Grade 4 in the British exam system). The books include the obvious technical skills for this level, such as fluent scales, arpeggios, ornaments, and Alberti bass. But perhaps more importantly they also teach much more exciting ‘musical’ techniques, such as exploring a wide range of sounds, sensitivity of touch, expressive rounded movements, balancing the hands, dynamic accents, rhythmic impetus and pedalling.

How do you expect teachers to use these books?

I encourage all teachers to use the books flexibly, according to the age, preferred learning style and needs of the student. You can use these books alongside existing method books, or as a self-contained method. Levels 2 and 3 can be used as a continuation of the previous books or can be freshly introduced to transfer students at this level. Do encourage your students to check out the technique tips and extension activities as well as the recommended pieces.  Teachers will find plenty of useful advice in the teaching notes, and videos demonstrating each technique.

Most importantly, I encourage you to keep the learning light-hearted, so students really enjoy learning all the skills in these books.  

Penelope Roskell is Professor of Piano and Piano Pedagogy at Trinity Laban, London.  She is also Chair of the European Piano Teachers Association (EPTA UK) and a world-renowned specialist in pianists’ injuries. 

Essential Piano Technique Level 2 and Level 3 are out now and available to buy from the Faber Music store or your preferred music retailer.