Discoveries in Teaching Methods at Nanqiao Lyu's Piano Studio: Part One

Nanqiao Lyu's Piano Studio has long been a beacon of innovative piano instruction, drawing from years of teaching experience and incorporating insights gained from piano pedagogy in the United States. One of the most significant observations Lyu has made is how American students approach piano practice with an emphasis on the enjoyment and diversity of repertoire. This unique perspective not only enriches their learning experience but also presents new opportunities for improving their technical skills.

American students, often engaged in a wide array of interests outside of music, typically have limited time for practice. As a result, Lyu has discovered that integrating specific, effective exercises outside of traditional piano practice can substantially enhance their performance abilities. Two key exercises have emerged from this approach, demonstrating remarkable results in fostering both relaxation and strength in students’ fingers.

The first exercise involves positioning the forearms and hands on a table, mimicking the natural hand shape used while playing the piano. Students rest their fingertips and wrists on the surface, arching their hands in a relaxed posture with a spacing of approximately 1.5 centimeters between each finger. This exercise should be practiced for about 10 minutes daily. It effectively addresses common issues such as tension in the hands and rigidity in the fingers, which can hinder performance. By encouraging a relaxed hand position, students find it easier to transition to the piano, leading to a more fluid and expressive playing style.

The second exercise focuses on individual finger strength and dexterity. Students are instructed to shape one finger like a hook and hang it from the edge of their other palm, allowing the weight of the hanging hand to relax the supporting arm. This exercise not only builds muscle strength in the fingers but also teaches students to maintain control and stability when playing demanding passages. By utilizing the fingers to support their weight, students learn to manage the dynamics of strong phrases without excessive tension or the risk of collapsing their fingers.

These innovative techniques not only complement the traditional methods of piano instruction but also align with the learning preferences of American students. By incorporating engaging and diverse practices into their routine, Lyu’s students can cultivate a more enjoyable and effective approach to piano playing. The result is a generation of pianists who are not only technically proficient but also able to express their musicality with confidence and ease.

As Lyu continues to explore and refine her teaching methods, the potential for further discoveries remains vast. These findings represent just the beginning of a transformative journey in piano education, one that promises to inspire both teachers and students alike. Future installments will delve deeper into Lyu’s methodologies and their impact on student success, revealing even more insights into the art of piano teaching.