Piano students of all ages often find themselves battling long-held myths about learning the instrument. These ideas, while deeply ingrained in popular culture, can actually slow progress and discourage learners if left unchallenged. Howard Richman, a respected pianist and educator, offers insight into many of these common misconceptions, encouraging students to rethink how they approach their musical journey.
One widespread myth is the fear of making mistakes in front of a teacher. In reality, mistakes are crucial learning opportunities—good teachers welcome them as a chance to guide students toward better techniques and greater confidence. Similarly, the idea that you must master classical music before playing popular styles like pop or jazz is outdated. Popular music can actually serve as a highly effective entry point for learning music theory and improvisation.
Another common misconception is that children learn music faster than adults. While children may have fewer distractions, adult students often bring greater focus and motivation to their lessons, often progressing just as quickly—or faster—when the desire is strong. The notion that starting piano as an adult is “too late” is equally misleading; life experiences, including past involvement in sports or dance, can aid adults significantly in mastering a musical instrument.
Richman also addresses the frustration many students feel about their pace of learning. Everyone believes they should be improving faster, but the truth is that piano study requires significant time and patience. Practicing smarter—not necessarily longer—is key. Short, focused practice sessions several times a week are more effective than marathon sessions. Even taking guilt-free rest days improves progress by allowing the brain to process and internalize what has been practiced.
Other myths Richman highlights include the ideas that you must always avoid looking at your hands, that writing in your sheet music is “cheating,” and that you must tackle a piece from beginning to end without jumping around. In reality, professionals frequently write notes in their music, look at their hands when necessary, and strategically practice difficult sections first.
Finally, Richman debunks the notion that practicing piano is supposed to feel fun all the time. True practicing—methodical repetition and troubleshooting—can be tedious. But the result of good practice is what brings the real joy of playing.
Breaking free from these myths can help students of all levels build healthier, more realistic approaches to learning and enjoying piano for a lifetime.
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