How Long Does It Take To Learn Piano?
Piano is one of the most beautiful and relaxing musical instruments of all because it helps people to create beautiful sounds by themselves and playing piano according to their own moods, but just How Long Does It Take To Learn Piano?
There is no doubt in the fact that learning piano isn’t as hard you might think, and people who have a passionate interest in any style of music can easily learn how to play different songs on the piano in a short period of time, whether their interests ate popular songs or classical.
For example, according to the survey conducted by a well known music school, the indications are that if a person practices piano every week for at least 2-3 hours then he or she can easily learn to play piano in an incredibly short time – it all depends on the tuition and resources available.
Before starting our topic, I would like to throw some light on the fact that playing piano is all about passion and commitment – once you start learning it then you will surely begin to love it because it is an awesome thing to make music on such a fantastic instrument. We assure that you can play pretty good piano within 30 days, even if you are a complete beginner – you just won’t believe it!
Learning piano is all about reaching the set level according to a carefully organized lesson and then practicing it regularly. Remember that a few minutes every day is much better 2 or 3 hours once every few days – it’s just how the brain learns a musical instrument, which is combination of brain memory, but also that special memory associated with muscle coordination.
You must be thinking that how long would it take to learn piano for me? Well, the answer is quite simple. The more time you invest in playing, the quicker you would be able to learn piano. It just isn’t the same amount of tile for every individual as we all learn at different rates.
For learning the piano in the most effective way and in the shortest time, you might loosely follow the ideas outlined in the rest of the article. It’s often not understood that the power of the mind is vital when learning anything, whether it be music mathematics or a language. Visualization of your amazing technique (even if you don’t have one yet!) is a profound secret for progressing very fast.
In you mind, before you go to sleep, actually see yourself playing the piano, with your hands moving effortlessly over the keys and creating exactly the kind of melodies that you like. Combine this approach with structured lessons and you won’t go far wrong.
Approximately How Long To Learn Piano Well?
First of all, it’s a good idea to choose your favorite songs and listen to them 3-4 times – if you’re like me, you probably listen to them constantly! The best piano courses have a database of all the most popular songs, so you can dive straight into learning exactly the style you’re interested in.
When you listen to a song that you know and love again and again, it becomes easy to identify with the way in which the song was written or composed. This helps learning the basic steps, because it’s music that you really like and so the the learning time is naturally reduced because you really, really want to learn how to play it.
It would be wrong to say that learning piano in a short period is possible for every individual, but if the student is motivated and practices diligently, a passionate but structured approach will get the desired results. Learning to play the piano well depends on the right tuition, passion, motivation and practice, practice, practice!
How Long It Takes To Learn Piano By Ear For A Beginner?
Playing music using backing tracks is a great way to learn piano because it’s always providing a direction for you to follow. Believe, even when it doesn’t work out as you expect, playing along with backing tracks is a fantastic way to learn and grow, even if you you do it casually, like when musicians jam together. Incidentally, once you have the basics under your belt, there’s nothing quite like getting together with students of other musical instruments and jamming together. Jamming is when you play along with others, with just a basic idea of what you want to play, for example, a song in A or a piano blues in the key of E.
We recommend you to spend at least 30 minutes a day, because it’s the regular practice which will help you to learn to play piano easily. The learning time using backing tapes is generally less because listening leads to subconscious understanding, which means we are learning without being aware of it and learning how to play piano by ear is the eventual result.
This is a great strategy that you could do for fun, aside from a structured class or lesson. Just put on one of your favorite tracks, and try to play along. It’s a good way to work out what key the song is in, what is the timing signature and how the key strokes are used to define the style or genre i.e. pop, folk, classical, country, rock , blues – you name it!
How Long To Learn To Play Piano With A DVD or Online?
Some years ago learning musical instruments using DVDs sent through the mail was all the rage. Learn piano using DVDs was OK as far as it went! In general, such a program was based on a DVD being sent to your house each month containing set lessons for your to practice. Although advice could be sought by email, generally you just followed the program set out for you.
There are several disadvantages associated with DVD piano courses:
- the student couldn’t choose the material to study
- feedback was non-existent or very slow in coming
- the student’s rate of progress is set by the course requirements
If anything, the over-riding essential for any progressive learning is that the student has full control over what he or she learns, and how fast they want to learn it! Of course, the structure of that learning should be left to the professional instructors – as seasoned musicians they understand that all learning is based on very solid foundations, and that solid progress comes from building and expanding those first steps.
Most great online piano course have a huge database of tunes and songs that are aimed just at your level, so that you can choose to learn the piano music that you love, and not some boring scales (although you’ll need that too!
How Long Will It Take To Learn Piano By Myself Without A Teacher?
There is no denying the fact that combination of both visual and audio learning of piano is the key to success, and audio/visual is of course a fancy way of saying ‘video’. Not too many years ago, it was relatively difficult to use video, as it was inevitably delivered in the form of a DVD, but it did open up the possibility of learning how to play the piano without an instructor.
Years before that, the only option was to try and teach yourself using books, listening to records and deciphering the sheet piano music. As you might guess, the progress was very hit and miss, unless you were a genius like Beethoven! Motivation was (an still is) a huge factor, because there were many obstacle to learning to play very well. Think about it – there would be no encouragement, no feedback and most importantly, no structure to the student’s learning.
If money was no object, then a private piano teacher is naturally the way to go, but even that isn’t always true. Piano teachers are human too and they will have strengths and weaknesses, and also a preference for a particular style of playing. Unfortunately, they can sometimes be rather strict. Good teaching involves gentle encouragement and constructive criticism, rather than strict rules and harsh words!
How Long Would It Take To Learn Piano Online With Video Lessons?
Without a doubt, the common usage of video streaming and download from the internet have revolutionized not only learning piano, but literally all forms of education at a distance. Many years ago, there were serious problems associated with internet based piano video lessons.
For one thing, the bandwidth required for raw video transfer was just too much for the relatively slow connections available at that time. The first step was to create video compression software that gave the same picture quality as the raw footage, but with a much reduced video file size.
At the same time, internet connection speeds were constantly improving and finally the two technologies combined to produce sites like Youtube, where millions of videos are uploaded every day. Incidentally, it can be quite tempting to use the free piano lesson videos from Youtube, and there are some useful videos available. However, take care – there is really no substitute for the structured piano learning programs available online which are very affordable.
Due to the small size of modern video files, it’s quite easy and normal for distance learning companies to hold a stock of literally thousands of video lessons. Of course, video is a fantastic medium for learning music at all levels. You can see the hands close up, the video can be slowed down, repeated to reinforce those difficult points and of course you also have full control of your progress. Just choose the next level when you’re ready!
An very popular feature of the Learn Piano In 30 Days program is that they have a massive database of popular songs in all genres that is continually growing. Best of all, if a student doesn’t find the song they are looking for, then the team will make a lesson for it and upload it specially for you! Pretty incredible, I think you’ll agree.
If you don’t make great progress in 30 days, we will give you your money back! Start for $1 ! Click Below:
Great article below:
Read our in-depth interview with the Italian pianist Alessandro Taverna
As pianist Alessandro Taverna delivers the grand finale of Harrogate International Festivals’ Sunday Series on April 30, Pianist caught up with the Leeds International Piano Competition Finalist
How did you begin as a pianist – did you have a musical family or particular mentor/inspiration?
I don’t come from a musical family; my parents have never pushed me to start learning piano and I remember everything came very naturally. I remember the songs I listened to on the television and my wish to play them by ear on a little keyboard which I received when I was 4 years old.
My father bought music tapes too which I listened to at home. I particularly remember a wonderful rendition of Mozart Piano Sonata in A minor divinely played by Sir Andras Schiff – that became the soundtrack of my childhood. I have a twin brother and we started together to learn piano.
You first appeared at the Harrogate Festival in 2010, sharing an event with a British national treasure – Alan Bennett – at the Royal Hall. Did you meet Alan? Have you any fond recollections of that event?
I felt so privileged to share the stage of the Royal Hall with Alan Bennett – I knew of him from his work that has been translated in Italian. The invitation came from Dame Fanny Waterman, who is a close friend of the great novelist (I had met her the year before during the Leeds Piano Competition). I especially remember a witty atmosphere and the smiles on every face. Though – I must confess – I wasn’t able to understand every single word of Alan Bennett’s performance (a few moments, the funniest, showed a typical Yorkshire sense of humour. He has a special intonation and musicality in terms of accents and idiom). As a young Venetian pianist who had just started to face the English concert scene, it was such a joy to perform with such an authentic British national treasure.
Reviews of the time said your playing was ‘ecstatically-received’ by Harrogate audiences – no pressure for this time! How do you handle nerves (if you get them)?
I normally handle the tension before the concert in a good way. There’s something fascinating in the rite of preparation of a recital. I normally focus on the pieces that I’m going to perform, trying to benefit as much as I can from my morning practice sessions.
You’ve clearly played all over the world, at amazing venues – but Yorkshire has played a key part in your career after the Leeds International Piano Competition – how important was that competition and how did it impact on you?
It was definitely one of the most important events in my life. I will never be grateful enough to the Yorkshire people for their support and for what they gave me in terms of appreciation and friendship. Everybody in the piano world knows that the Leeds Piano Competition is one of the most relevant cultural and musical events worldwide. In that sense it has certainly been a watershed in my artistic life. For me particularly it has also represented the encounter with Dame Fanny Waterman, a person whose qualities and intentions in dealing with music are the same that I try every day to repeat to myself: integrity, seriousness, perseverance and sincerity.
Watch Alessandro’s finals concerto performance from the Leeds in 2009:
Your playing inspires poetic praise – one critic in The Telegraph said of a sonata: In Taverna’s hands the piece took on a sense of unbounded yearning, the human soul floating beyond the bounds of anything human… And another (The Independent) said when you played at the Leeds competition: “the world was suddenly suffused with grave beauty: flawless minutes of poetry.”
I’ll always keep in my heart this sentence from The Independent: “Taverna sounds to me like the natural successor to his great compatriot Arturo Benedetti Michelangeli”; this, although I am aware I can’t reach the intellectual and musical stature of Michelangeli, is for me a constant source of inspiration – a great yearning towards a pianist to whom I feel to be bound (over the common nationality) as my ideal reference point, for the sense of respect for the music and for the mission of us performers: the pianist is a medium that conveys a greater message, we are just a tool, not the main actors.
Is there a particular piece of music or a composer that speaks to you personally?
There are several. I’m particularly fascinated by the personality that Liszt had as a composer and as a pianist. I have a real veneration for the Russian music (Rachmaninov and Prokofiev above all) and I’m in deep love with the Classics: but if I have to point a piece that more than the others was significant to me and that every time I play it moves me, I would say Chopin Concerto in E minor. It was the concerto I played in the Finals of the Leeds Competition (also for this reason I am particularly fond of it). I remember, since from the very first time I listened to it, I was amazed by the fact that a young composer could have included everything in such a piece of music: suffering, pain, love, lightness, delight… in other words life!
There’s often the image of the tortured artist, obsessed with their art. Being a professional musician, touring the world, does it take over your personal life?
Music is a very important part of my personal life, but as an artist, I think we should not forget to find a good balance. Just because we experience the deepest emotions of the human soul – those ones through which music speaks – we must always be vigilant not to be overwhelmed by them. I believe that we’re dealing with something of the utmost importance and seriousness and that we must act seriously, but without taking ourselves too seriously. Life experience informs our work.
The Telegraph described your stage persona as being ‘the perfect embodiment of the pale and interesting aesthete’ – and being ‘otherworldly in demeanour’ is this a fair description?
It is certainly an image that can sound a bit ambitious, but in the end I don’t feel it is too far away from myself. The important thing is to keep always at least one foot on the ground!
You’re playing an all Chopin programme in Harrogate, can you tell us a little about the programme and why you chose Chopin?
Chopin has been always a traveling companion for me. I challenge myself with his music with a certain awe. Sometimes I’m not completely sure of owning the experience to deal with this repertoire… but at the same time I feel that, even in planning my recitals throughout the year, it becomes an almost inevitable necessity – almost as if I want to measure what point of the journey of my artistic maturity has been reached. The programme I chose for Harrogate offers a multifaceted vision of the forms that Chopin uses, spacing from the massive corpus of the four Ballades to the Nocturnes, the Scherzos, the Polonaise… and maybe a few more surprises.
What would you say to convince audiences, who may not normally go to a classical concert, to come and give your concert a try?
In order to find a convincing reason for those who normally don’t attend concert halls, I would turn the question and think why people in the 21st century (in a world and in a reality troubled by a lot of problems) still go to a classical concert. They are looking for something different, not just escapism… something that perhaps we tend to forget in daily life. It’s the desire to be touched and comforted, to listen to something that still has not been told by anyone. I hope to give these emotions to those who come to Harrogate on 30th April.