Q.  I know what this piece is supposed to sound like but why can't I play it?

Gordon - Adults perceive what they want with clarity because they've had lots of listening experience but their hands and muscles aren't as flexible and don't respond as quickly as they used to. This causes a unique kind of frustration and self-blame for some unstated inadequacy which is a big mistake. Because adults understand the music, it seems like a foolish waste of time to go back to very simple steps to learn it, but once this is done, the result will be immediate improvement. Take a small unit of rhythm and play it 10-20 times or take the right hand melody alone and get it in your ear the way you want it to sound. These are kids games but these simple exercises will make the musical elements so clear and they will become so engrained that your playing will improve immediately.

Aother problem is with continuity. You've practiced and can create little cells of lovely things but it becomes difficult to get from one coordination to another coordination. At this point the music breaks down. One misplaced note and everything falls apart and you have to reorganize and go on. Institute a pattern of repetition to deal with this. It can become a game you're playing with yourself that's fun and brings results. Your change of mentality takes away the pressure of "why can't I do this, what's the matter with me", because you're focused on something else that's interesting and fun.

Q.  When I'm playing in a recital why do I suddenly wonder "what key is this in, do I really know that note, I don't know the left hand, I'll probably forget"?

Gordon - You have to train yourself that if something goes wrong, not to act like the entire experience is spoiled either for you or for everyone else. Face the consequences realistically. Most of the time they're "zilch"! You care that you make a mistake but the consequences are all in your own mind.

Self-assessment goes to the core of your own self image as a human being. We're applying it to piano playing but we have to deal with it in every aspect of our lives. Ultimately, we find a middle ground of who we think we are and what we think we can achieve. We have the choice of relating ourselves to a potential disaster or a great time. Painful or traumatic experiences make deep impressions and produce an attitude that lingers. You can prepare, do all the good things and if this attitude is subconscious, it will come back at the moment the adrenalin kicks in. It is fundamental that we train ourselves and work constantly to achieve a realistic neutral outlook on life. This can lead to the most realistic assessment of what we're able to accomplish.

Q.  What should I play?

Gordon - There is much to be said about finding repertoire that is wonderful and enjoyable without having to attempt the most difficult virtuoso pieces. If you insist on climbing mountains as you get older you're going to climb them more slowly. There's no reason why you can't climb a few hills and enjoy a different view, maybe not as breathtaking but more charming because you see different kinds of details. Instead of selecting pieces as if you're collecting autographs of famous people, why not choose less familiar works; enjoy a Spanish flavor with the Spanish dances of Moszkowski and Granados, or a contemporary French flavor with the pieces of Alexander Tansman or Poulenc. That's not to say you can't work on a Chopin Nocturne and then an Etude, but you don't want to always be working on a piece you'll have a difficult time mastering. It is very important to achieve a level where you can sit down and play a piece. And it's a good idea to change the menu every three or four months.

Q.  How do I make the most of my practice time?

Gordon - I like to have a game plan. Today I have 40 minutes and I'll work on these measures, get the rhythm right, work on a bit of memorizing. If I don't get it done that's O.K., I'll do it tomorrow. You begin to plot small tasks against the time you have and those coalesce into a realization of what you can get done in a certain amount of time. It's good to have an organized plan and eventually put that into the segment of a week. What do I want to accomplish in a week? The important thing is that it keeps you in focus as to what you're trying to do and you begin to sense what you can do, what your pace of learning is and what kind of time it takes. You accept that as part of your learning pattern and you're no longer going to the piano and asking yourself "why can't I get this?"

Q.  How can I give my old pieces a longer life after I've learned them?

Gordon - Regard your pieces as friends and call them up for a chat from time to time. Maybe you have 20 minutes and you can meet for lunch. Give parties for them, not necessarily with other people. See how much you remember and what else they have to say. When I have a student who cancels a lesson and I have some unexpected extra time, I'll call up an old piece, see how much I remember and enjoy becoming reacquainted.