Mindfulness in Music: Notes on finding life’s rhythm, by Mark Tanner

My guest writer today is pianist, composer, author, adjudicator, and music examiner, Mark Tanner. Mark has penned a wealth of piano and music related publications, including The Mindful Pianist (published by Faber Music in 2016), and numerous educational compositions (many of which have been featured on various exam syllabuses). Today, he provides an insight into his new book, Mindfulness in Music: Notes on finding life’s rhythm (published by Leaping Hare Press), which can be purchased here. Alternatively, you can pop by this blog next week and take part in my weekend competition, where I will be giving away a couple of copies. Over to Mark…

We talk a great deal about music – the role we think it plays in our lives, its seemingly endless capacity to rejuvenate, stimulate and orientate us. But we’re increasingly at risk of thinking of music as a utility or commodity – something that’s been created to tick a box perhaps, or to help us fulfil a particular function in our lives. Some of us look for music to be purposeful – or indeed to help us to be more purposeful in whatever activities we happen to be engaged in. We jog with headphones on, wait for an elevator to the accompaniment of tinny pop tune cover versions, and sit in the sauna to a backdrop of synthetic flutes and wind chimes. This resignation to the idea of ‘functional’ music seems to have become entangled with how we consume it – sometimes unthinkingly or with a sense of entitlement. Streaming music seems strangely out of kilter with the devotion shown by those who created it in the first place, drip by drip. Music on tap potentially leads to a lack of excitement and engagement – that feverish sense of anticipation we once felt as we put on a new CD is now more likely to resemble a lucky dip in Apple Music. Music might be something we sit down to listen to, but just as easily it will underscore some everyday activity such as fixing a broken toaster or waiting for someone to answer the phone about an electricity bill. One might be tempted to contrast this with music enjoyed in an earlier point in time, where the very notion of recordings would have seemed about as likely as Donald Trump becoming President. In taking music for granted we underplay its marvellous, mysterious qualities – we become harder to please, harder to be moved or exhilarated by sound, perhaps to a point where the beauty of a musical moment escapes our attention altogether. Today music all too easily blurs into ‘muzak’, which is a perilous place for us to have arrived at, since we feel robbed of choosing how, what and (perhaps even more importantly) when we listen. Listening and hearing are quite separate things of course; for me, this superabundance of music is the very antithesis of mindfulness, for we feel cajoled into consuming music instead of drawn in by its powers of intoxication. We can even feel that there is only a single, acceptable response to certain sounds, or that our emotions are in some way being manipulated to someone else’s ends. Advertising would be largely impotent without music, and yet ironically the music used is virtually always rendered anodyne in the process. Potentially, our dispassionate receptivity music leads to mindlessness, not mindfulness. This burden of choice, or else its polar opposite – no choice at all – also discourages us from pausing to reflect; we forget how to be thrilled or devastated by a musical experience. The flip-side of this is true when playing the piano of course, or perhaps especially when teaching it. The knowledge that an exam is on the horizon might help someone to concentrate on improving, but will it necessarily help them to notice what in the music is truly of value? Music exams, competitions and festivals, though hugely advantageous to many learners, unwittingly contribute to this regrettable commoditisation and compartmentalisation of music. Perhaps this is all rather inevitable and not worth getting distressed about; yet for me, the listener forms a key point in the triangle that starts with creation and ends with an emotion beyond the realm of words. Listening can even be said to be creative in and of itself, but only if we are alive to what it is trying to say to us.

I wrote Mindfulness in Music: Notes on finding life’s rhythm in 2017 as part of an ongoing series of around 30 beautifully presented hardback books published by Leaping Hare Press. I recall first noticing the series a few years ago as a table display in my local Waterstones and was immediately enticed by their craftsmanship; they really are things of beauty. Topics so far go from bread-making to bereavement, surfing to singing, Einstein to cycling! The book came out in April 2018 and was discussed in my interview with Tom Service on BBC Radio 3’s ‘Music Matters’ a couple of days later. The publishers wanted me to sum up in a concise, easily grasped way the essence of mindfulness and indeed the essence of music. There is surely no expectation of the need to be an expert in meditation, mindfulness or indeed music in order to gain something of value from such experiences – in the same way, one doesn’t need to be a virtuoso to enjoy playing the piano, or a graduate in music to enjoy listening to it being played. Music is always of the moment, even when it takes on epic proportions, such as a Wagner opera or Strauss tone poem. Perhaps Erik Satie had a rather important point to make when he penned his exquisite piano miniatures – for he achieved that impossibly difficult thing as a composer: to beckon the listener into a perfumed musical moment that seems to have already started before we’d even tuned in. Satie’s music, a little like the minimalist movement that followed a few decades later perhaps, rarely appears preoccupied by grandiose machinery, development or architecture – the music is there to be savoured, rather like caviar, truffles or a fine cognac. Deeply meaningful music does not, therefore, need to be large-scale or impressively ambitious in order to make its mark.

“Mark Tanner has written a mindfulness manifesto for music”

Tom Service, BBC Radio 3 ‘Music Matters’

It seems those who love music, or indeed use it in a more sophisticated way – either by learning about it or even earning money from it – become especially prone to this habit of picking away at the minutiae of surface details. It’s as though we imagine ourselves to be Michelangelo, putting the final touches to the Statue of David when we practise a few bars of intensely tricky music on the piano. Music students may feel a certain satisfaction from having put into words the cleverness bound up in, say, a Mahler symphony or lengthy Miles Davis jazz piece. And rightly so, for music’s narrative journey, or ‘story’, is frequently complex and deserving of that extra bit of attentive thinking, or even, dare I say it, analysis. The question here is at what point should we just let the music go its own way, unjudged, unevaluated? This is not a contradiction, more a conundrum, for there are times when we need to scrutinise, and others when we can just wallow and enjoy. As a pianist and composer, I find this question strikes at the heart of all I do, for I’ve spent many hours pouring over recapitulations in Mozart concertos, or else looking for ways to extend a simple tune that has just landed in my head. And yet, in the end, I know that this type of detailed work is only valuable because it allows me to tap into, and hence express the music’s bigger picture so that others are able to gain something from it.

When I wrote The Mindful Pianist for Faber in 2016, as part of the ongoing EPTA Piano Professional series, I dug deep into what we as pianists are attempting to achieve when we are playing; I broke this difficult subject down into four main areas: focus, practise, perform, engage. In essence, I was wanting those who love the piano to view what they do from a subtly different perspective, not just to grind away for days on end in an unwinnable bid to out-manoeuvre Beethoven, or conquer Ravel. I commissioned  perspectives from 25 well-known pianists, composers and teachers, and the ultimate aim was to provide an original way ‘in’ to the craft of piano playing, not just to offer a raft of tips on how to practise (though the book hopefully achieves that, too!). The book is unapologetically pianocentric – it’s my sincere attempt to embody the idea that we need to play and think about piano music in a thoughtful, mindful way in order to do it, and ourselves, justice.

“invigorating and thought-provoking”

Martino Tirimo

In this latest publication I assume no preexisting knowledge base or skill-set. It’s not written for aficionados or those in the know. Nor am I focusing exclusively on piano music. There are chapters on music as meditation, the rhythm of life, sound and sensuality, the language of music, parallel universes (how music can inhabit multiple meanings for us simultaneously) and the art of possibility – how the reader might acquire the confidence to sing in a choir, take up an instrument later in life or become a valued member of the musical community. I also take a closer look at what, if anything, we mean by ‘talent’ in music, what tone-deafness is, or indeed is not. I unpack the notion of perfect-pitch to see whether it really adds much to what proficient musicians might achieve, and offer 20 activities designed to help us all to resonate more enjoyably with everything from the sound of a squeaky gate to a love song by Elton John.

“Mindfulness in Music is both informative and thought-provoking – a fascinating read on many levels”

Julian Lloyd Webber

The ‘point’ of music – in virtually any way I consider to be realistic or meaningful – is surely  to connect with our human urge to feel emotion. It’s amusing to me that we talk about the Romantic period as driven by passion, feelings and expression, as if this has not always been the case, both before and since the 19th century! Sometimes we feel an impulse to re-connect with a particular song or piece of music in order to help us to relive a moment; in this respect, nostalgia in music is every bit as powerful as looking at sepia photographs or blowing dust from the yellowing pages of an old book. Come to think of it, the antiquity of Classical music perhaps renders all of our listening and playing experiences potentially nostalgic? I’ve always felt that music is all ‘ours’ – in other words, humans created it for the wonderment of other humans – and to this end the book sets out to scratch a little beneath the surface of what we thought we already knew. Let’s not forget that the world was making its own music millions of years before our distant ancestors began drumming away on stretched animal skins or experimenting with echoes in forests, and there is perhaps no greater music than silence, itself an endangered species. Becoming more aware of how we engage with music, and indeed what constitutes music in the first place (isn’t a waterfall music, or a storm reverberating through a valley?) is how we will gain more from it. I ask, in the book, “how can we be interested in the sound of nature if we are not intrigued by the nature of sound?” Can elephants really listen with their feet, for example, and why is it we cannot hear the deafening ‘songs’ of whales when we are ashore? These and other questions are not intended to be semantic or philosophical for their own sake, but seeded here and there within its pages to help place our enjoyment of music in a sharper spotlight, irrespective of what kinds of music we enjoy listening to or playing. Spirituality, in these terms, becomes more about the relationship we have with music directly – and a world that is forever teeming with sound – not necessarily tied to any god or religion.

As pianists, most of us grow used to grappling with music that was etched onto manuscript centuries ago. We take for granted that our playing skills need to be entwined with an ability to read music and make sense of heady things such as structure, harmony and counterpoint. This all too easily leads us to the numbing conclusion that music is only there to be sifted and sorted through, organised and fiddled with, until it finally submits to all our tireless thrashing about at the keyboard. If, on the other hand, we can learn to take a helicopter view of the music we love from time to time, even when we are doing battle with the intricacies of a Bach fugue or scrabbling around with fistfuls of notes in Debussy, we will access it from a more immediately rewarding place. And by doing this, not only will we derive more from the experience itself, we may also have more to ‘say’ when we sit down to play.

Mindfulness is concerned with self-compassion, i.e. forgiving ourselves for making mistakes and playing imperfectly. It’s also about savouring the here-and-now, not over-reaching, over-thinking or over-analysing. These things just throw a spanner in the works and at the same time distract us from noticing, savouring, enjoying and simply ‘being’. We can have an eye to the future prospect of playing to others, or perhaps taking an exam, without feeling fatigued by ‘end-gaming’, as Alexander would have put it. But it is also about positioning ourselves right at the centre of the musical experience. Though I am not a Buddhist, I find the notion of playing music as a ‘practical meditation’ utterly irresistible. We are engaging with the finest of art-forms – “the word music, after all, comes from ‘muses’ – the daughters of Zeus – to crystallise the purist conceivable artistic aspirations of the gods”, to quote from my own introductory text. It’s interesting that music has the power to realign us as well as fortify our daily lives, but more than this, musical experiences are valuable because they remind us of who we are, and this might even help us to become better versions of ourselves.

Mindfulness in Music, Notes on finding life’s rhythm, by Mark Tanner (Leaping Hare Press).

My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.


A Friday Freebie!

Today’s Friday offering is a FREEBIE, for everybody. It’s a great little late elementary piano piece composed by American composer and arranger Carol Matz. Carol is no stranger to my blog, and is a very popular composer, arranger and editor for Alfred Music Publishing. Her arrangements and piano pieces have been enjoyed for many years by young and older pianists.

The piece is called Dolphin Dance. It is tuneful, effective and hands play separately for most of the piece, making it a great proposition for beginners too.  You can hear it here:

Download the piece by clicking on the link below, and it is in PDF format.

Dolphin Dance by Carol Matz

My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.

‘Divine Fire’ at the Radcliffe Centre in Buckingham

The quaint, attractive market town of Buckingham, situated in North Buckinghamshire, played host to a rather special performance held at the Radcliffe Centre earlier this week. The centre, formerly a splendid church, is attached to the University of Buckingham and has been tastefully refurbished and renovated, catering perfectly for recitals and lectures. The venue presents a popular concert series and is a flourishing arts and cultural centre.

I’ve written before on this blog about my love for the combination of words and music. I had the good fortune to perform Melodramas and Recitations for several years with the recently deceased raconteur John Amis, and regularly observed audiences favourable reactions as they became captivated by the sheer beauty, emotion and profundity this alliance provides.

The relationship between  Frédéric Chopin and his lover George Sand is assiduously explored in this fascinating programme aptly entitled ‘Divine Fire’. Narrated and written by the celebrated actress Susan Porrett, the mellifluous prose transported us on a journey through Chopin’s turbulent existence, marking both his musical achievements and often chaotic personal life. Chopin, a shy, spiritual soul, who died at the untimely age of thirty-nine, spent nine years with the rebellious, feminist writer, Sand. This unlikely union, which from the outset was so full of promise, hope, romance and passion, slowly descended into misery, jealousy, despair, and ultimately with Chopin’s demise. Seemingly neither ever recovered from their final separation. A love story for the end of time.  Moving, expressive and heart breaking, this searing chronicle was effectively punctuated by many of the composer’s well-known piano compositions, elegantly performed by pianist Viv McLean.

Viv presented a wide range of Chopin’s works opening with the small-scale yet poignant Prelude in A major Op. 28 No. 7; not an obvious choice, but it was played with precision, poise and colour. The Nocturne in E flat Op. 9 No. 2 and Prelude in C sharp minor Op. 45 were equally effective; restrained and contemplative yet devoid of any sentimentality. The interweaving of dialogue and piano music was beautifully judged with renditions of Chopin’s First and Third Ballades (Op. 23 and Op. 47), metamorphosing the reflective mood into an impassioned and dramatic aura.

Larger works such as the thrilling Scherzo No. 3 in C sharp minor Op. 39, ever popular Fantasie Impromptu in C sharp minor Op. 66 and Polonaise in C sharp minor Op. 26 No. 1 were juxtaposed with the Nocturne in C sharp minor Op. Posth. and the Mazurka in A minor Op 17 No. 4. Performed with consummate mastery, this Mazurka’s pervading improvisatory semblance exuded a trance-like quality.  As one of Chopin’s later compositions, the chromatically adventurous Polonaise Fantasie in A flat major Op. 61 afforded a fitting conclusion, and complimented the utterly tragic and desolate narrative enthralling conveyed by Susan. The script cleverly integrated a mixture of the lover’s letters with accounts and descriptions from friends and relatives, allowing their personalities to permeate powerfully.

Chopin and Sand were indeed present at this concert, appearing as ethereal apparitions on a large screen placed high above the performers. Sands’ painting dominated at the beginning, her piercing dark brown eyes illuminating the tempestuous character beneath. Chopin’s ghostly haunted image, which featured in the second half, was of a man whose spirit had been totally crushed, thoroughly consumed with sadness. The evening was an intense tour de force fully demonstrating the irresistible charms of words and music.

My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.


A visit to Holst’s Birthplace Museum

 Holst Birthplace MuseumThe Music Room in Holst’s Birthplace Museum (photo: www.cheltenhamtownhouse.com)

Cheltenham is one of Britain’s most beautiful towns. Situated on the edge of the Cotswolds, it is architecturally stunning; elegant buildings and manicured gardens abound. So it provides the perfect setting for the birthplace museum of one of Britain’s most important composers; Gustav Holst. Holst was born in the Spa town in 1874 in a property which is resides in Clarence Road (then known as Pittville Terrace). Holst was born into a family of artists and musicians; his father was a musician, teacher and organist of nearby All Saints Church.

Strolling up to the delightful house, there was a sense  of serenity and tranquillity; a feeling which the Holst Birthplace Trust works hard to maintain. The house is immaculately presented and has many fascinating artefacts and manuscripts. In fact, not only is it a slice of a musical history but also Victorian history too.

Originally built in 1832, the Regency-style terraced house was home to Holst and his family for just 7 years. The family vacated after the death of Gustav’s mother. The Museum was opened in 1975 and is one of only two composer’s birthplace museums in the country (the other being Elgar’s Museum in Worcester).

The most ‘musically’ interesting room, is undoubtedly the living room or ‘Music Room’, which by any standards, is large and full of Holst memorabilia. Resplendent with William Morris-designed wall paper, many of Holst’s belongings were bequeathed by the composer’s daughter, Imogen (who was also a composer). The grand piano is the main ‘focal’ point and the instrument on which the composer wrote and ‘tried out’ much of his magnum opus, The Planets. The Collard & Collard piano was clearly a prized possession and is featured alongside his armchair, music stand, piano stool and a painted chest. The many display cabinets were of particular interest to me; they contained personal family items including a picture of Mozart that Holst apparently kept nearby when composing! Scores, press cutting and reference books are all displayed prominently. The contents are taken from the Museum’s archives and change regularly.

A fine bust of the composer (by Maurice Juggins was donated in 2005) and a very eye-catching portrait by Bernard Munns (which was given to Holst by the people of Cheltenham in 1927) are both interesting additions to the Music Room. I loved the concert programmes and poster’s which adorn the walls, mentioning all the great composers, performers and conductors of the time. Holst studied at the Royal College of Music in London where he met his life-long friend and colleague, composer Ralph Vaughan Williams. Always a prolific composer (he wrote over 400 works), Holst was also an inspirational teacher, and taught at St. Paul’s Girls School, Reading University, Morley College and Dulwich Girl’s School. I definitely feel empathy here having been a student at the RCM myself and piano professor at Reading University too.

The ‘Regency Room’ on the first floor was thought to be a ‘music lesson’ room; beautifully decorated and furnished, it contains a harp and square piano. Holst’s great-uncle, Theodore von Holst, was an illustrator and painter (he was the first illustrator of Mary Shelley’s Frankenstein (1831/2)) and two of his paintings are displayed in this room. Other rooms of interest include the nursery (complete with wonderful wooden toys and Doll’s House), the basement, and the kitchen which left us with no illusions regarding just how labour intensive household chores were in the Victorian era. The whole house is most certainly a wonderful historical ‘snapshot’ of life in the Nineteenth Century.

Holst was transfixed by astrology, folk song and Indian religions, and whilst his crowning glory is undoubtedly The Planets, he also wrote in many other genres including opera, ballet, concertos, chamber music, and songs, many of which reflect these interests. He died in 1934 and was buried at Chichester Cathedral.

As always when visiting museums and galleries, I couldn’t drag myself away without purchasing something, and the little shop contains an excellent mix of recordings, books and biographical details. So I bought Gustav Holst; A Biography by Imogen Holst and will look forward to reading more about this revered composer. If you find yourself in the vicinity of Cheltenham then don’t miss this lovely homage to Holst’s life and work.


Holst’s Birthplace Museum

My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.