You're listening to the PianoPod, where we talk to the brightest minds in the industry
about how they are bringing the piano into the 21st century.
Last time we spoke to Madeleine Bruiser about her teaching philosophy, mindfulness in practicing,
and common issues she encounters with her students.
And now, the conclusion.
Can we back up a little bit and talk about your early musical experiences, growing up,
going to school, and then how your early career and how you eventually ended up writing your
book and came to the art of practicing.
Okay, so you're talking about going from age six to finish when I was 46.
Maybe not every day, but...
How did the art of practicing come to be?
It came to be directly through meditation practice.
Directly.
I had been already teaching certain elements of it.
As soon as I started meditating at 29, I was already teaching things like sing the left
hand while you play the right hand so that you can really hear what's on the page.
Just the sound coming at you instead of thinking about the sound, and also rhythmic grouping.
This is an extremely powerful aspect of the work.
I don't know if I can go into it too much now, but simply to say that rhythm is usually
not taught well.
It's really taught that the first beat is strong, the third beat is semi-strong, and
the second and fourth beats are weak, and that's the end of it.
You have to go one, two, three, four, one, two, three, and this is death to me because
the first beat is strong by nature.
If you emphasize it, you just kill all the flow of the music.
There are a number of music teachers, not very many.
One I know of in jazz and a couple of maybe three people in the classical world and different
instruments who understand rhythmic grouping.
There's also a book called Note Grouping, and it's similar in content to my chapter
11 in my book, The Art of Practicing, which is all about rhythm.
Rhythm is again in the body.
When people use metronomes, they are shutting down their body.
Human rhythm is not the same as mechanical rhythm.
Human rhythm flows in waves, and it's very important that your life moves in waves.
The heartbeat is like, and breathing goes in waves.
Phrases go in waves.
Music flows in waves.
So that wave, it ebbs on the downbeat.
You don't go one, two, three, four.
You go one, two, three, four, one, two, three, four, one, or two, three, one, two, three,
one, so that it's constantly moving forward.
It's kind of complicated to go into in an interview, but it's pretty well covered in
the book.
But nevertheless, somebody actually has to work in this because we're trained to stop
at bar lines and to stop before beats.
And we don't even realize we're doing it.
This actually affects your technique because this kind of rhythm, as Yukimi was talking
about, it's organic.
This is how life flows.
And so when you think of the notes in these groups and you feel these waves in these groups,
your body works much more naturally and your technique improves.
So what was the question?
How did they come to the art of practicing?
So I started teaching that along with the listening techniques.
And I was more aware of what was going on with the hands and arms.
So I was able to teach that, but it didn't crystallize until I had been meditating for
eight years.
And at that point, what happened was meditation is a practice of sitting still no matter what.
No matter what's going on in your body.
And that's the discipline of it, accommodating big energy.
So I was accommodating a lot of big energy that spring when I was 37.
Some heartbreaking things happened in my life and it was really painful.
And I was sitting on my meditation cushion, feeling all this emotional pain and not moving.
It was around that time that I noticed at the piano that I didn't want to move around
anymore.
I was able to accommodate the big energy of the music, all that flow of powerful energy
without reacting to it this way.
And I just wasn't able to go back to the other way.
And a friend came over and said it sounded better the new way because the music was just
coming through to the listener directly.
So that week I asked all my students to sit that way instead of doing like this.
And instantly, instantly, they all sounded 100% better.
That was when the light bulbs were like, I could almost see them flashing in front of
me and saying, you know, you don't have to hit your head against the wall anymore trying
to become a touring internationally successful pianist.
You are an important teacher.
People need to learn this.
This is your career.
Everything totally shifted at that point.
This is like six months after my New York debut.
Right?
I had my debut.
Did I know it was going to be my finale?
The irony.
So I stopped pursuing concerts.
I canceled a concert I had in Chicago.
I was done.
And I started giving seminars on the art of practicing.
And then the book just evolved from that.
I actually tape recorded a lot of the seminars, including the questions and answers.
And those are the questions and answers that are at the end of most of the chapters in
my book.
Could you tell us how we should as a piano teacher to maybe introduce meditation to students?
That's a great question.
I've never told them to do it.
I don't want to proselytize because I don't think it's appropriate.
But what I've done is if a person is, it just happened yesterday actually, if a person is
obviously kind of in a stressed state, they're speaking in very negative terms, they're nervous,
they're just not settled down.
I say, well, let's just take a minute to settle down.
Just sit there, let your eyes relax, keep them a little open, and just notice your breathing
for a couple of minutes.
That's all I do.
If you start calling it something, it actually is limiting what it is.
Because all it is, is a space in the person's mind, you're offering them an opportunity
to take some space that their mind desperately needs.
And a little space goes a long way.
So then if the person becomes interested in meditation after that, which definitely happens
to some people, and in these days, because mindfulness is such a known entity, people
ask for it more often, then I recommend a meditation instructor or a program.
But I try to become their instructor because that's a whole other relationship.
Exactly.
Yeah.
Thank you so much.
Yeah.
The three contact points, the feet are on the floor, the sitting bones are in contact
with the bench.
Then when you play a chord, the ends of those finger bones are in contact with the bottom.
So it will actually, in contrast to the excess effort of doing this, when you lean forward,
you really do that with a lot of energy.
It throws your torso a little bit backwards because of the equal and opposite reaction.
I see.
Yeah.
It seems so much easier when you do it that way.
Right.
But then there's also other uses of the forward motion of the arms, where instead of initiating
it from the fingertips where you're grabbing and your arm is passive, you initiate from
the shoulder.
So you can do that when you just let the arm weight drop in, but you can also slide in
and out of the keys, which is initiated from here.
And the sliding motion is something that's not in my book.
And it is something that I want to really create on a video for people so they can understand
it.
So if I just open a piece like...
Let me show you that really close up.
Okay.
So I'm sliding in and out.
So you can teach the student to just slide with all five fingers on the board.
So they can slide this way in and out.
And then...
You'll notice things like I'm sliding in and I'm already coming out before I slide out
on that one.
This one slides in and it comes back out.
Then I slide in.
So there's a lot of...
Even on the same key, you're sliding in and out.
And I've just taught them to do a scale like that.
You know, in, out, in, in, in, in, out, out, out, in, out, out.
That's how complicated it is, but it's actually a very natural way to move your hand.
Yeah.
I can see how relaxed you are when you do that.
The first thing that I always address with every person...
I don't think I've ever seen anybody who's accomplished this entirely.
Actually one person got it from my book.
It's in the book, but to get it from the book is exceptional.
It says in the book that you could practice letting the fingers relax on the keys when
they're not playing.
So if you do...
Do it down here.
You don't do this, right?
Right, yeah.
It comes down so that the fingers are doing the minimum and that's because they're not
designed for power.
And that's very important.
People need to understand what parts of the mechanism are designed for what.
The fingers are designed for precision, refined control.
The arms are designed for power and flow.
This is like the bow for the string player or the lungs for the wind player or singer.
This is the flow.
If you cut that flow...
I could play that Mozart opening without that flow, just staying one place instead of sliding
in and out and that limits what I can do.
I'll try it, but...
It feels awful and I just don't feel that it creates the same kind of musical flow.
So it's a much more freeing experience for the pianist to allow things to keep flowing
all the time.
Right, right.
So you have to...
And then the shoulder is designed to position the hand in space.
So it's not designed to do this, right?
That's not going to help you.
And it's not designed to do that, right?
And then of course, so that's the mechanism, the playing mechanism.
And then there's the whole supportive mechanism, the stability that's provided with the torso
when you sit very solidly.
There's also all this that you can do to reach certain distances on the keyboard.
And then the wrist is really designed to move.
So the wrist has eight bones that are lined up in two rows of four, and it is totally
designed to move.
It makes ovals all the time.
So if I do this...
You can make an oval even holding down a single key.
Not that you should do it for no reason, but there's just all kinds of places where this
liberates the whole mechanism.
It allows you to reach stretches.
It makes it easier for the fingers to put the keys down.
There's all kinds of stuff.
So I just kind of condensed a vast unwritten encyclopedia of piano technique into this
tiny little thing.
But this is really when I started out with singing today where we need to tune into what
our natural abilities are.
The body is designed to work a particular way.
If you use it that way, you'll be able to play the instrument well.
But just having this basic number of facts can really help people stop doing excessive
work with the wrong part of the body.
Right.
Yeah.
Thank you for the demonstration.
I think it's really helpful for people to see it in action, although of course, this
is just the tip of the iceberg.
And for anybody watching, if you're interested in this and you'd like to know more, I highly
recommend you pick up the book, The Art of Practicing, or go to theartofpracticing.com
and Madeline's going to be offering a series of online master classes.
Yes?
Yes.
And I think the second week of June, it's going to start.
It'll be once a week for two and a half hours.
It'll be early afternoon on the East Coast so that people on the West Coast or in Europe
can participate.
And there will be a 10-minute mindfulness practice to open each session, 20 minutes
of group conversation about anything that is coming up for people.
And then it will work with each of three pianists for 45 minutes and they will have a minute
of feedback from the group.
Those three pianists will go through the whole six weeks.
It's called a transformative piano master class series.
By the end of the six weeks, something will be different.
That's fantastic.
Yeah.
So if that sounds like something you would be interested in signing up for, please visit
artofpracticing.com.
All right.
So I'm afraid we're running out of time.
I feel like we didn't get to at least two thirds of what we want to talk about.
But I think Clara has one more question for you, Madeline, and then we've got to get on
to rapid fire.
That's right.
And for those pianists who are thinking, just take the action and enrol now.
And I'm still so inspired from last year.
And one thing I have a great question for you, Madeline, but I just want to reflect
on one tiny thing that I feel like if it's not for the master class that I did last year,
and it just happened to be, I don't even know where it came from.
It just kind of landed in my hand and I was connected to, which I didn't know how to find
you.
And it was just through PTC.
And I felt like you gave me permission.
And I remember it was that night after I performed, I came home and I realized I have to transfer
the student, my studio to online because that was the most rational thing to do.
And I think that took a lot of courage.
And I believe, and then my students actually are playing better than ever.
And I have all these, so I want to know what your opinion is.
What is, what's the future is going to be from after this year and a half or what is
it going to be for PMS 50 years, a hundred years from now?
I know that the pandemic is having a major effect on all of us.
And I feel that it has a really powerful silver lining.
I think that it's getting people to focus inward more because there's no choice.
And there's less, so much less distraction.
You know, you can't get on the subway and go here and there and all over the place.
You're left alone in your house where your family is, where everything is more intimate
and personal and it can't help but change us.
So I think that people have been forced also to come to grips with horrible economic realities
of not being able to make a living.
It's horrible for performers.
And you know, some teachers don't want to teach online and there are some students who
don't want lessons online.
So I think that this inward awareness, inner awareness is actually beneficial, but only
up to a point.
I think it's going to make us appreciate connection to other people much more.
I mean, my husband and I both are getting the second dose of the vaccine this week.
And within two weeks we'll be fully immune and we know this other couple that will be
in the same position.
And I said, let's have them over for dinner.
I can't believe what that's going to be like.
People are saying it's so good to shake someone's hand.
I think and the appreciation of what a performance really means is going to be bigger.
So I think a lot of things have been stripped away and we're not going to even know until
the pandemic is over.
And gradually in pieces we'll have more experience of being out in the world.
So I think there is that.
I would hope and I believe actually that making music is a practice that is evolving.
The fact that schools are teaching the Alexander Technique.
I mean, actually one of my students is teaching at a college and she's now teaching meditation
at her college to the musicians.
These possibilities are now more open because it doesn't sound like such a weird thing to
the administration of the school anymore.
20 million Americans are practicing mindfulness.
Well, hey, maybe we should get with the program, right?
So it's different.
It's going to take a long time though.
But I'm not sure that that's what your question was.
But I do think that each individual is tasked with figuring out their individual situation.
I think people need to talk about it, to have guidance from somebody they trust.
And one of my biggest, I mean, my whole reason for being on the planet seems to be to help
people, as I said, to believe in themselves, to show them that they're capable of so much
more than they realized.
They could play so much better.
They could teach so much better.
They could help their audience more.
They could help their students more.
That evolution, that's what I'm here to facilitate.
So I'm hoping that the increase of inward focus and the increased awareness of how the
mind and body work with music will actually somehow get people to, and also the forced
discontinuation of how they were making a living before.
There's a musician who has a wonderful website.
I can't remember the name of it.
Her name is Kaylee Miller.
And she is a Pilates instructor.
And she also has a podcast.
And she's connected with a lot of musicians.
And she's a major person in musician's wellness.
And she wrote this article I came across recently that said, I've been forced to do other things
for a living.
Because I'm teaching Pilates full time.
This is what I'm doing now.
And that she appreciates certain things about it.
And I read another article.
This other musician is saying, well, I'm realizing that I want to be somewhat into arts administration
so that I can help how the schools are teaching music.
And I want to teach body mapping to these musicians.
And I want to teach the violin.
And I want to perform.
That is a kind of hybrid career.
It's really healthy, because we're not just a one track person usually.
You have the abilities.
And the world needs them.
So that's what I think is possible.
I think it's very, very painful for people to not be able to do what they love the most.
But I think it can be a growth experience.
Wow.
Thank you, Madeline.
That is such a wonderful answer.
I really, really appreciate your insight.
We have a new segment called the Piano Pods rapid fire questions.
Question number one.
Are you ready?
Yes.
Right.
What do you consider comfort food?
I love almond butter out of a spoon.
That is quite healthy.
Great.
Loved it every day.
Wonderful.
Wow.
Okay.
What is your word or words to live by?
Love yourself and then you can love others.
Great.
Beautiful.
What is the most important quality you look for in people?
Love.
And the word do you think is the worst quality in people?
Aggression.
I will continue.
Name three people who inspired you, living or dead.
Well the first would be my meditation with Chichigam, Trungpa or Bhikshu.
I was unbelievably fortunate to play the piano for three times.
Actually the picture of that happening the third time right here.
This was the end of a three month meditation program and I played for him in New York when
he happened to be staying at a house with two Steinway grands.
Oh my gosh.
Yeah.
I know you don't want a long answer.
It was beyond words.
It was like the best piano lesson I ever had and he knew nothing about the piano.
Oh my goodness.
Wow.
This is a Tibetan who appreciated Western music immensely.
Right.
This is a very, very extraordinary human being.
So definitely him.
Three people.
One was Anakham Pressler who I studied with for two years when I was 17 to 19 who emphasized
imagination, creativity, sound, magic, all the things about being an artist.
I felt like I became an artist.
I didn't have another teacher like that before or after.
And was the question who I admire?
Three people.
Living or dead.
I admire Mozart.
He inspired you.
Mozart.
Mozart's music.
Name one piece in your current playlist.
Schubert, G flat, and Prompto.
Okay this is a new one.
I don't know about this for rapid fire but name one change you would like to make to
music education in the U.S.
I would like to have a national conference at which thousands of music teachers attend
and where the whole point is to open up and talk about the primary need we all have to
be open, vulnerable, and genuine and what are the components of making that possible
in making music for your students.
Great.
Wonderful.
Okay so if you could only listen to one piece for the rest of your life what would it be?
That's a tough one.
Oh I know.
Of course I know.
The second movement of the Mozart concerto in A major, K4-88.
Second movement in F sharp minor.
My favorite piece of western music.
Oh there you go.
And finally please answer with one word.
Fill in the blank.
Music is blank.
Love.
Perfect.
So everybody that concludes this episode of the PianoPod which I am very reluctant to
end.
Thank you so much Madeline for joining us.
We want to remind everybody to check out your website artofpracticing.com and remember Madeline's
online masterclass series will begin in June.
If you enjoyed this episode please read and then review on whatever podcasting platform
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We look forward to seeing you all on the next episode of the PianoPod.
Bye everybody.
Bye everyone.
Thank you Madeline.
Thank you so much.
graveyard