This state results in a naturally-better focusing ability which creates the illusion that the child may be able to absorb new material faster than the adult. What may be true is that the child is less encumbered by the busy-ness of life and tends to have less mental clutter. From my own personal experience of teaching both children and adults since 1975, this idea that a child’s brain is more receptive is incorrect. So, one could study classical first and then popular, but considering that these are different skills that take time to master, why not do them concurrently? To avoid popular music till classical music is mastered will make it much harder to learn music theory and in turn to derive the benefits of this knowledge.
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The easiest way to start a path towards music theory is to study popular music, with a teacher who knows how to explain chord-reading (not notation). The best way to study music theory is through POPULAR music! This is because chords are presented in a straightforward manner, as chord symbols, without even having to read music! (These are sometimes called “guitar chords” and are printed above the music staff.) Theory knowledge can make you a better performer, a better sight-reader, a better memorizer, a better interpreter and a better overall musician! And, of course, these attributes are applicable to playing classical music. In fact, even if one’s goal is to focus strictly on classical literature, there is great value in studying popular chord technique and improvisation. Reality: If a student’s ultimate goal is to play popular music, or even to do it with classical on an equal footing, this idea that you must study classical music first is incorrect. “I have to study classical music before I can play pop or jazz.” Also, fear of making mistakes tends to distract you from the music and will actually CAUSE the very mistakes you were trying to avoid! So, never be afraid to make mistakes for your teacher.
If you have latent mistakes that you somehow are able to hide for the lesson, the teacher may not be able to help you fix these hidden problems, which means that they may appear later when you are performing. This could be in the realms of practicing suggestions, fingering, hand position, eye movements and more. In fact, good teachers PREFER to witness your mistakes so they can help you not only fix the problem, but learn how to avoid the problem in the future. Reality: Most teachers enjoy teaching and are inspired when they see someone who really tries and is diligent with their practice.
“My teacher will drop me if I make a lot of mistakes.” This material is an attempt to help pianists of all levels be liberated from such mental constraints, attitudes and assumptions regarding piano lessons, so that they might truly reach their goals. But on close examination, even the most “obvious” beliefs about piano study and piano practice are not only wrong, they are damaging to the individual who is bound by their chains. Piano lesson myths are so ingrained into our culture and our consciousness that it almost seems silly to counter them. I agree with most everything here and so thought you'd enjoy it! If you like this article, don't miss my other, tips for beginning pianists and piano composition! I ran across the article below about piano lesson myths by piano teacher Howard Richman.