Piano
lessons are often considered a rite of passage for young children. In the “Personal History” section of the New Yorker in a piece titled “Every Good
Boy Does Fine,” concert pianist Jeremy Denk describes his own experiences with
piano lessons and explains how they shaped not only his career but also his
understanding of himself. Denk recounts
his own personal history based on the various piano teachers he has had at
different points throughout his life.
As a
professional musician, Denk obviously has a much greater knowledge of classical
music and music theory than his audience.
For this reason, he employs analogies to make the musical complexities
he describes more accessible to average readers. For example, to enable readers to understand
the hopelessness of practicing fingering techniques, Denk writes, “Imagine that
you are scrubbing the grout in your bathroom and are told that removing every
last particle of mildew will somehow enable you to deliver the Gettysburg
Address.” In addition, Denk utilizes
hyperbole as a method of explaining the monotony of some of his practices. He writes, “Exercises like this are crucial
and yet seem intended to quell any natural enthusiasm for music, or possibly
even for life.”
By
explaining the different techniques his instructors utilized while teaching,
Denk paints a picture of the personalities of these people beyond the realm of
classical music. Also, Denk writes of
the hard work required to achieve success as a musician and the fine line that
a teacher must walk between critiquing a student’s work and destroying his/her
confidence. As a pianist himself, Denk’s
description of the power of music lessons carries a unique sense of
credibility.