Patient Piano Coach for Adult Beginners and Returners — Build Confidence with Clear Practice Plans

Find out more about Benedict

• 1) When did you first develop a passion for music and your favourite instrument?

  I grew up surrounded by music, but the real turning point came in my teens when I began to understand that music wasn’t just a subject to be studied — it was a language for expressing ideas, emotions, and imagination. The piano was my first love, and it still feels like home base, but over the years I’ve also studied strings and composition. I later fell in love with the organ as well, which opened up an entirely different way of experiencing sound and coordination. Each instrument has taught me something unique, but piano remains the one I return to most often, both as a performer and as a teacher.

• 2) Is there a particular type of music or artist that you listen to on a loop without it driving you crazy?

  Yes — Art Tatum. He’s one of those rare artists you can listen to endlessly and never run out of discoveries. His improvisations are like living organisms: dense, playful, surprising, and full of detail you miss the first ten times through. There’s always another twist in the harmony or a sudden rhythmic flourish that catches you off guard. Even after years of listening, I still find myself stopping to ask, “How on earth did he do that?”

• 3) Explain to us the most difficult or riveting course you could personally give to a student of music.

  For me, the most riveting journey to guide a student through is the transition from “I don’t think I can do this” to “I just played something I thought was impossible.” That might mean helping an adult beginner master their first simple Bach minuet, or guiding a returning player through a Chopin Nocturne, or coaching a more advanced student into improvisation. What makes it special is breaking big, intimidating challenges into clear, manageable steps that build confidence along the way. Watching that confidence grow — and seeing a student’s face light up when they realise they’ve crossed the line into real musicianship — is the most rewarding “course” I could ever design.

• 4) What do you think is the most complicated instrument to master and why?

  The organ. I play it myself, and even with years of experience, I’m always humbled by it. The sheer coordination required is staggering: both hands playing on different manuals, both feet working the pedals, all while managing stops, expression pedals, and registration. Unlike the piano, where dynamics come directly from touch, the organ requires advance planning — you have to think about colour and volume structurally, almost like orchestrating while you play. It demands physical coordination, technical control, and a deep understanding of sound. For me, that makes it not just the most complicated instrument, but also one of the most rewarding.

• 5) What are your keys to success?

  Clarity, structure, and empathy. I don’t believe success comes from sitting in a lesson and being “taught” — it comes from knowing exactly how to practise effectively between lessons. Many teachers end up supervising practice during lesson time. My approach is different: I give students clear, step-by-step tools they can use on their own. That way, progress happens every day, not just once a week. Add to that a calm, encouraging atmosphere where mistakes are treated as part of learning, and you have the conditions for steady, lasting growth.

• 6) Name three musicians you dream of meeting in your favourite bar in the early hours of the morning. Explain why.

  Art Tatum — I’d want to sit with him just to understand how he thought about the keyboard in real time. His improvisations seem superhuman, but I suspect he’d describe it all very matter-of-factly.
  
  Bach — partly to thank him for the extraordinary body of music we still live with, and partly because I’d love to see his reaction to the instruments and musical language of today. I imagine he’d be curious, amused, and perhaps even inspired by what he’d hear.
  
  Bill Evans — his touch, his sense of harmony, and his way of reimagining standards make him one of the most thoughtful jazz musicians in history. A conversation with him about sound and silence would be unforgettable.

• 7) Provide a valuable anecdote related to music or your days at music school.

  When I was studying under Seta Tanyel at Oxford, I had an experience that really shaped how I teach. I brought in a piece I thought I knew inside out. Instead of pointing out mistakes, she asked me a simple question: “What are you trying to say with this?” It stopped me in my tracks. Until then, I’d thought of practice as getting notes correct. That one moment opened my eyes to music as communication, not just accuracy. Ever since, I’ve carried that insight into my teaching: the goal isn’t just to play correctly, but to play meaningfully.

• 8) What are the little touches that make you a Superprof in music?

  I specialise in teaching adults, especially those who are returning to music after years away or starting fresh later in life. Adults often carry self-limiting beliefs — “I’m too slow,” “I’m not talented enough,” “I’ll never catch up.” I see it as my job to dismantle those beliefs step by step. The little touches that make a difference are things like personalised practice plans, clear notes after each lesson, and a calm atmosphere where progress is measured in genuine improvements, not pressure or judgment. I also bring in my own breadth of experience across piano, organ, strings, and theory, so students can connect with music from multiple angles. Ultimately, it’s about creating a space where adults feel safe to learn, make mistakes, and rediscover the joy of making music.