Subscribe Form

Tone is one of the most elusive ideas in piano playing. This reflection explores how confusion between tone, technique, and listening arises, and how clarity begins to emerge through embodied understanding and release of tension.

Listening is not something we add to playing. Through a moment of practice with Mozart, this reflection explores how hearing harmony changes timing, sound, and the experience of performance itself.

A reflection on arm movement, joints, and fingertip-led motion in piano playing. This post explores body mapping and piano technique through the structure of the body, focusing on how movement is organized from the smallest muscles outward.

A lesson-based reflection on how technical problems in piano playing often arise not from lack of practice, but from a mismatch between thinking, visual perception, and movement—and how clarity can allow coordination to reorganize naturally.

A personal reflection on Enrique Granados as a teacher, exploring how his approach to interpretation, emotion, and pedagogy resonates with lived musical experience.

A snowy day, a quiet room, and Alicia de Larrocha’s Granados. Listening slowly, I found myself drawn not to the famous Nightingale, but to the deeper balance of Goyescas and the improvisatory spirit behind it. A reflection on listening, improvisation, and finding one’s place inside a composer’s world.

A reflection on re-entry, listening, and embodied attention, written while preparing Granados’s Goyescas for the next stage of performance.

A quiet reflection on what happens when attention shifts outward and inward at the same time. How teaching, sensing, and movement can reshape our nervous system and bring both playing and learning back to life.

What happens when rigorous musical structure refuses to become sound? What happens when rigorous musical structure refuses to become sound? A pianist’s practice notes on Scriabin’s Piano Sonata No. 9, exploring analysis, harmony, listening, and intuition.

Integration Piano Week is a shared space where musicians, teachers, and learners come together through music — to learn, experience, and exchange ideas.

Music as an integrated art, where sound, rhythm, emotion, and movement unfold together in time.

A quiet return where change emerges not by force, but through time and inner movement.

Thoughts shaped through performance, where sound, body, and perception are inseparable.

Returning to the stage is not a return to who I was. It is a re-entry into uncertainty, attention, and embodied decision-making— where practice, performance, and identity are tested in real time.

Practice is already part of performance. Whatever happens in practice reveals itself on stage.

Vision is not simply about seeing. It is about how perception, movement, and understanding are integrated in learning.

Reading music is not a skill to be forced. It emerges when understanding, sound, and movement grow together.

Technique does not begin at the keyboard. It begins with preparing the body.

Commitment and motivation do not come from pressure. They grow naturally when the conditions are right, in learning as in life.

When children learn through enjoyment and experience, playing at home becomes meaningful practice. A perspective on learning, development, and why forcing practice often backfires.