There’s a big difference between playing notes on a piano and making music.   Duke Ellington described “… two kinds of music, good music and the other kind…”[i] Mike Garson[ii] says “almost any music is better than none, but it sure is more pleasurable when it has an aesthetic touch.” We’ve all experienced music that’s made us tap our foot, dance or even cry. We’ve also listened to music that’s done nothing for us. Following is my understanding on how to make “good” music.

When creating music, before any notes are played, pulse is the first element to be established. (At first this may require forethought, but will ideally become second nature, something you feel in your bones.) Pulse is the music’s heartbeat or flow and, once set in motion, it stays in motion. (It does not stop to let you fix a mistake.) It is the foundation upon which melodies, harmonies and rhythms groove. It seems so obvious and natural to most people that it generally gets glossed over. Even music schools tend to jump to rhythms before a student can play or feel a steady pulse or groove!

When a bandleader counts in a song, they’re doing more than setting the beat. They’re conveying attitude and intention. It’s the combination of all these elements that comprises the pulse of a song, and every song has a unique pulse. An anthem, for example, has a much bigger pulse than a children’s song. Also, different styles of music conjure different kinds of pulses. The same song will have a different pulse when played by different musicians.

In pop, jazz, r&b and hip hop, music comprising syncopated and other rhythms, the pulse is unmistakable. If it goes off, we cringe. Rhythms on dance tracks are synced to a driving pulse that practically force clubbers to the dance floor. In other kinds of music where there’s room for more free play, the pulse may be ignored to establish a mood or to segue between pieces or movements. (This is loosely called rubato.) But then, when the pulse returns, the music feels even better.

The drummer is the most obvious pulse generator in a band, but each musician creates his/her own internal pulse that matches that of the drummer. Melodies, harmonies and rhythms are then set down within this shared pulse. Joining this shared pulse is how musicians jam. It requires focus and awareness. When musicians sync to a groove they call it “being in the pocket.” In sports, an athlete in sync with all the variables for a perfect play is “in the zone.” Professional musicians are “in the zone” at almost all times when performing.

When practicing, feel the pulse of the song first and then set the metronome to match. Place the notes exactly where they fit within the pulse. The more you can embrace the concept of pulse, the more it will resonate in your playing. And the exhilaration you feel in your being when you play will transmit to an audience.

After the notes are mastered, when you sit at the piano it becomes an extension of yourself. How you feel – nervous, happy or sad – affects the music you play. When you play for others you’re at the mercy of a thousand elements including the temperature of the room, outside noises, and concerns over who’s in the audience and whether they’ll like what they hear. The biggest obstacle to making music is our ego. When we focus on whether we’re too good or not good enough we make the experience about ourselves and we lose our connection to the music. Drop the ego and focus the mind. Connect with the flow and enjoy the ride. There are few experiences in life as satisfying as playing music.

To play enjoyable music, you need to be physically relaxed. This cannot be overstated. Be aware of tension in the body. Don’t hold your breath. Keep the pulse/flow going so that the notes fall into place as the music unfolds. Again, follow the music instead of dwelling on something unrelated. Spiritual practice parallels piano practice. Surrendering to the music and practicing in a dedicated, focused manner will improve your playing and change your life. A little easier said than done, but doable with attention and desire.

Advanced piano playing is not easy, but music complexity is not required to move an audience. A simple tune played with a steady flow/pulse and the desire to connect can bring one to tears.

Only think of yourself as a student when you’re practicing. When you’re playing for others, see yourself as a performer. Give yourself permission to sound great. Do not judge yourself when you perform. Focus on the music and the end result you want more than technique. Technique is very important when you’re practicing, but when you’re performing it’s more important to play from the heart and express what you feel. If your intention/desire is to share your love of the music with the audience, then that’s what the audience will receive. Before you sleep, envision what it feels like to sound great. Feel like you already have the ability.

It’s best to study with a teacher but, when practicing, you are your own teacher. Listen to what needs to be improved. (There’s always room for improvement.) Do not give yourself false praise, but do not dismiss your progress either. Respect your process. Do not set a higher standard than you’re capable. Determine what to play by what you’re drawn to and apply as good a technique as you currently have. Establish the pulse before starting to play. Listen to the left and right hands and the interaction between the two. Listen for the harmonies, the melody, and the hook. If what you’re playing doesn’t move you, move on to a piece that does. If you’re feeling grief, anger or something else, convey it as honestly as you can through the music. Being a pianist requires a commitment to practicing. This cannot be repeated enough. Even those who have an innate sense of chords and a truly unbelievable feel need to practice to acquire the dexterity to really play. Practicing is where the work is done. Enjoy the journey as well as the end results.

Once you own the skills of a pianist, no one will be able to dispute that what you’re playing has an authentic voice. (Of course this applies to any skilled musician.) Even people negative by nature will soften when they listen to your music. And when someone compliments your playing, say thank you. They feel you have gifted them something. Do not explain why your performance could have been better. We’ve all heard or seen how music heals others. When we make music, we also heal ourselves.

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[i] Where Is Jazz Going? Music Journal (1962) Reproduced in The Duke Ellington Reader, ISBN 978-0-19-509391-9. Edward Kennedy Ellington (April 29, 1899 – May 24, 1974) was an African American jazz composer, pianist, and band leader who has been one of the most influential figures in jazz, if not in all American music.

[ii] Mike Garson was longtime pianist for David Bowie, and is an internationally renowned jazz pianist and improviser, and my piano teacher.