"...if the narratives of all the injured pianists were taken into account, certain methods of practice may not be viewed so favourably" - from Understanding Touch, Optimising Pianism
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Dr Roberts is a world-class pianist and teacher. He is also a practising medical doctor. Further, he holds a Phd on the mechanical and perceptual aspects of touch. He is based in London and teaches advanced principles of piano performance and technique optimisation to talented and professional pianists. Passionate about piano playing and the magic that it can create, he is equally passionate about helping pianists achieve their potential and not become distracted by the misinformation that riddles the world of piano playing.
He is frequently engaged to present at schools, universities, conservatories and conferences on the topic of Optimising Pianism. He works with both talented students and professional pianists who strive for the highest levels of pianistic excellence, whilst offering specialist advice and services to pianists who suffer from technical problems, pain and performance-related injuries. He welcomes enquiries from any pianist or teacher around the world who strives for excellence in pianism, or from pianists who seek help with diagnosis and management of pain and injury. |
Teaching Services
Don't speculate with your pianism. It's too important.
Contact: [email protected]
* First consultations are FREE
Contact: [email protected]
* First consultations are FREE
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INDIVIDUAL
LESSONS 
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In-person or online.
This session offers a comprehensive assessment of your pianism and its problems. It is a unique service from an international concert pianist who is a specialist medical doctor (Anaesthetics, FRCA), holds a PhD (University of New England) in the topic of the physical and perceptual aspects of touch, and has written a book on the topic of Optimising Pianism. The session covers: • review of pre-assessment questionaire and video • assessment and diagnosis of physical and/or technical problems • identification of 'strengths' and 'weaknesses' in your pianism (using the 3M methodology – see book) • targeting of core pianistic problems and creating a 'to-do-list' • provision of materials of the 6-week course (below) • recommendations for future development or support. |
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OPTIMISING
PIANISM. 6-WEEK COURSE (INDIVIDUAL)
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This is an intensive 6-week programme specifically designed to explain 'how pianism works'. It teaches the key principles of how to optimise pianism. The content is modern, evidence-based and shows how the psychological, physiological and physical aspects of piano playing interrelate to contribute to optimised performance. Demonstrations, applied examples and Q+A sessions are included. By the end of the course, you will KNOW how to solve any pianistic problem.
The course is for pianists (or teachers) who are already performing at a high level (professional or professional-to-be) but are unable to overcome certain problems, are aware that 'something is not quite right' or simply feel that things are not as good as they could be, technically, musically or physically. The classes advise on how to assess pianism, identify strengths and weaknesses and target solutions. The course embraces the principles of the 3 M's of Pianism as outlined in the book, Understanding Touch – Optimising Pianism (under publishing). The topics covered in the 6 sessions include: 1• Pianistic information, misinformation and pitfalls of understanding. 2• Mechanics and movements: what and how to move, when and why. 3• Memory and learning strategies for virtuosity and reliability. 4• Musical biases, perceptual distortions and artistic pursuasion. 5• Practise and process optimisation: learning efficiently. 6• Putting it all together, applied examples, and how to excel in the future (and more). See excerpts of the book (below) for more info. |
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OPTIMISING
PIANISM. 6-WEEK COURSE (GROUP)
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This is an online group course of 6 live video sessions. It covers the same programme as the individual 6-week Optimising Pianism course (though with less opportunity for individual focus). Each session offers theory, applied examples, an interactive Q&A sessions and weekly tasks to complete. (NB. Attendants can withhold their identity for privacy reasons should they wish.)
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Book
After more than 14 years of preparatory work, Dr Roberts' book on piano technique optimisation, 'Understanding Touch – Optimising Pianism', is finally under publication. The book is for advanced pianists and teachers, and addresses the central pedagogical theme of touch, the touch-tone interaction, its mechanics, our perceptions of it, and how we can optimise it. Uniquely, it examines this topic through the eyes of science in an evidence-based way, challenging the assumptions of standard traditions and exposing the pitfalls of many pedagogical schools of thought – systems that continue to permeate teaching methods around the world and lead to suboptimal outcomes and injuries.
Chiefly, the book is concerned with separating what matters from what doesn't matter in regards to achieving virtuosity. It highlights how errors of thinking (psychology), errors of mechanics (physics), and errors of learning (physiology) – are the main factors that prevent pianism from succeeding, and excelling. It outlines an approach to overcoming such problems using understanding, and a simple, self-analysis strategy: 'The 3Ms of Pianism'. The underlying argument of the book is that if we were talented sportspeople, we would optimise our performance using the best resources from modern science, and, as musicians, we should be doing the same: applying the best, latest science to our practice so that our talents are given the best opportunity to reach its maximal performance rather than being subjected to the random outcomes of pedagogical speculation.
Chiefly, the book is concerned with separating what matters from what doesn't matter in regards to achieving virtuosity. It highlights how errors of thinking (psychology), errors of mechanics (physics), and errors of learning (physiology) – are the main factors that prevent pianism from succeeding, and excelling. It outlines an approach to overcoming such problems using understanding, and a simple, self-analysis strategy: 'The 3Ms of Pianism'. The underlying argument of the book is that if we were talented sportspeople, we would optimise our performance using the best resources from modern science, and, as musicians, we should be doing the same: applying the best, latest science to our practice so that our talents are given the best opportunity to reach its maximal performance rather than being subjected to the random outcomes of pedagogical speculation.
Excerpts from Book:
| book_excerpt_–_about_the_author.rtf |
| book_excerpt_–_contents.rtf |
| book_excerpt_– sample_from_introduction.rtf |
Presentations & Masterclasses
• Masterclass – 'Optimising pianism – help from science'. Conservatory of Music, Melbourne, Uni. Aug 2022
• Workshop – Elder Hall, University of Adelaide, Australia. Jul 2014
• Keynote speaker – "The Application of Science and Medicine to Piano Technique", 6th WA Piano Pedagogy Conference, University of West Australia. Apr 2012
• Masterclass – 6th WA Piano Pedagogy Conference, University of West Australia. Apr 2012
• Masterclass – Tamworth Conservatory of Music. Jul 2012
• Presentation – "The Application of Science and Medicine to Piano Technique", Faculty of Music, University of Melbourne. Apr 2012
• Masterclass – Australian National Academy of Music, Melbourne. Apr 2010
• Workshop – Australian National Academy of Music, Melbourne. Mar 2010
• Masterclass – Wangaratta Performing Arts Centre, Victoria, Australia. Mar 2010
• Presentation – "The Application of Science and Medicine to Piano Technique", Faculty of Music, University of Melbourne. Mar 2010
• Doctor for Australian Youth Orchestra. European Tour, 2004
• Workshop – Elder Hall, University of Adelaide, Australia. Jul 2014
• Keynote speaker – "The Application of Science and Medicine to Piano Technique", 6th WA Piano Pedagogy Conference, University of West Australia. Apr 2012
• Masterclass – 6th WA Piano Pedagogy Conference, University of West Australia. Apr 2012
• Masterclass – Tamworth Conservatory of Music. Jul 2012
• Presentation – "The Application of Science and Medicine to Piano Technique", Faculty of Music, University of Melbourne. Apr 2012
• Masterclass – Australian National Academy of Music, Melbourne. Apr 2010
• Workshop – Australian National Academy of Music, Melbourne. Mar 2010
• Masterclass – Wangaratta Performing Arts Centre, Victoria, Australia. Mar 2010
• Presentation – "The Application of Science and Medicine to Piano Technique", Faculty of Music, University of Melbourne. Mar 2010
• Doctor for Australian Youth Orchestra. European Tour, 2004
Academic
• Fellow, Royal College of Anaesthetists (FRCA), UK. 2018
• PhD - ‘How the pianist’s touch affects tone quality – a review of performance-based and scientific literature with applications to piano practice and performance’, University of New England, Australia. 2015
• Masters (Music) – Dissertation: 'Symbolism in the late works of J.S.Bach', University of Melbourne, Australia. 2006
• Bachelor of Medicine & Bachelor of Surgery (MBBS), University of Melbourne, Australia. 2002
• Associate of Music Diploma, Australia (violin), Australian Music Examinations Board. 1993
• Licentiate of Music Diploma (with distinction, piano), Australian Music Examinations Board. 1992
• PhD - ‘How the pianist’s touch affects tone quality – a review of performance-based and scientific literature with applications to piano practice and performance’, University of New England, Australia. 2015
• Masters (Music) – Dissertation: 'Symbolism in the late works of J.S.Bach', University of Melbourne, Australia. 2006
• Bachelor of Medicine & Bachelor of Surgery (MBBS), University of Melbourne, Australia. 2002
• Associate of Music Diploma, Australia (violin), Australian Music Examinations Board. 1993
• Licentiate of Music Diploma (with distinction, piano), Australian Music Examinations Board. 1992
Scholarships & Awards
• Australian Postgraduate Award (APA) for PhD research, Australia. 2010-13
• Ian Potter Cultural Trust: grant for investigation on the application of science to musical injury prevention. 2011
• Ian Potter Cultural Trust: grant for investigation on the application of science to musical injury prevention. 2008
• Michael Kieran Harvey Scholarship, Australia. 2006
• Ian Potter Cultural Trust: grant for investigation on the application of science to musical injury prevention. 2006
• Australian National Academy of Music, full-residential scholarship. 1998-99
• Pearis Rodger scholarship, University of Melbourne. 1996-98
• Northcote Trust scholarship. 1994
• State Premier's Award for Music, Victoria, Australia. 1994
• Ian Potter Cultural Trust: grant for investigation on the application of science to musical injury prevention. 2011
• Ian Potter Cultural Trust: grant for investigation on the application of science to musical injury prevention. 2008
• Michael Kieran Harvey Scholarship, Australia. 2006
• Ian Potter Cultural Trust: grant for investigation on the application of science to musical injury prevention. 2006
• Australian National Academy of Music, full-residential scholarship. 1998-99
• Pearis Rodger scholarship, University of Melbourne. 1996-98
• Northcote Trust scholarship. 1994
• State Premier's Award for Music, Victoria, Australia. 1994