⚡️ Is Your Playing "Energetic" or "Frantic"?


Quick note: I am hard at work on a new scales course for pianists who already know or once knew their scales and want to level up. The waitlist is now open, and more than 250 pianists have already added their names. If you would like to be among the first to hear when it is ready, you can click here to join the waitlist. Clicking that link will automatically add you to the list and take you to a page where you can fill out short survey that will help me tailor the course to you and make it the best experience possible.

Dear Friends,

In a recent lesson, one of my students and I had a conversation about the distinction between energetic playing and frantic playing.

Both types of playing are high-energy and feel intense. And it can be easy to mistake one for the other. But from the audience’s perspective, energetic playing is exhilarating, while frantic playing is nerve-wracking!

As we were talking in that lesson, it became clear to me that my student had been assuming that “frantic” playing was simply a sign of under-preparation. She told me that if she could just practice more (more repetitions, more drilling), she was sure that the frantic quality of her playing would go away on its own.

But that’s not quite how it works.

I’ve heard plenty of pianists who have clearly practiced a piece hundreds of times and can rattle it off at full speed, yet the performance still sounds frantic.

Frantic playing is a result of your fingers playing faster than you are thinking. You’ve practiced the passage so much that it's in your muscle memory, but it hasn’t been internalized. Your hands know what to do and where to go, but your mind isn’t fully present.

The result is that the music tumbles out with a breathless, almost panicked-sounding quality. This isn’t necessarily because you’re nervous, but because you're playing on autopilot.

One of the telltale signs of frantic playing is that it doesn’t breathe. Music, like speech, needs natural pauses. When we listen to somebody talk, we breathe right along with them. (Just imagine hearing somebody speak in a monotone or with no pauses between sentences - it's actually quite unsettling.)

The same is true when we listen to music. Like sentences, phrases need to have a beginning and an end. There need to be moments where the performer and the listener can take a breath, both literally and figuratively.

Frantic playing barrels through the music. It’s relentless in a way that feels tiring rather than exciting.

By contrast, energetic playing has a feeling of spaciousness, even when it’s very fast. The performer is in control, mentally ahead of their fingers and anticipating what’s coming next. And, significantly, there are moments to breathe.

The most exciting performances I’ve ever heard have a degree of spontaneity to them. The performer is taking a risk in the moment, responding to what’s happening in real time. That spontaneity comes from being so thoroughly prepared that your mind is actually ahead of your fingers, rather than trying to keep up.

So how do you practice for "energetic" playing instead of "frantic" playing?

Here are a few strategies I teach my students that you can do too!

Study the score away from the piano. Understand the structure, the phrases, the harmonic direction. When you really understand the music, you have more control over it.

Practice slowly, paying special attention to tone quality. Every note should speak clearly and have what I like to call a "robust" tone. If your fast playing sounds muddy or unclear, it’s often because you haven’t spent enough time at a slower tempo making sure each note has a good sound. Then, when you play faster, you’ll be hearing a sped-up version of the very clean and clear way you practiced slowly.

Notice where phrases begin and end. Deliberately give the music time to breathe at those moments. Mark them in your score if it helps. And then actually practice breathing in those moments. If you don’t want to add extra time while you breathe, inhale on the last note of the phrase, as you start the next one.

Never play faster than you can think. This is the most important one! Practice becoming aware of where your mind is while you play. Are you able to listen slightly ahead of the notes your fingers are playing? If not, slow down.

The goal is to have your fast playing feel exciting, rather than frantic. Try some of these strategies and let me know how it goes for you!

👋 Happy practicing,

Kate

🎹 Get to know more piano repertoire this year with Piano Lit!

One important aspect of getting better at playing the piano is listening to the literature composed for the instrument. Over the past few years, I’ve heard the same thing from so many students: “I wish I knew more of the piano repertoire, but I have no idea where to start.”

That’s exactly why I created Piano Lit, a self-guided six-week mini-course to help you deepen your knowledge of piano literature. Each weekly theme consists of a curated list of recordings along with historical notes and listening notes for each piece.

It’s designed to help you gradually build a more vivid “mental library” of music that will support everything you do at the keyboard.

So far, more than 200 people have taken this mini-course. Here’s just a sampling of some of the things people have said about it:

Ann Marie wrote: “This course brought me SO much joy! I hesitated to purchase it initially because I already listen to classical music daily and I know quite a bit about composer history. However, I discovered through this course that I never intentionally listened to the degree that I do now. The listening notes really gave me something deeper to listen for.”

Lauri wrote: “Easy to use format, great value for a wealth of content, clearly and thematically organized, can learn at your own pace…Even though I am still playing simplified arrangements of classical pieces, this awareness has enriched my appreciation and enjoyment of the music as well as motivating me to play even these simple pieces more ‘musically’ and expressively.”

Richard wrote: “This is a wonderful course. There is a remarkable diversity of piano music and as I work my way through all the modules I’m amazed at the detail in the accompanying notes. To say the price for this course is a bargain is an understatement. My knowledge of the piano literature has increased exponentially.”

If you’d like 2026 to be the year you get to know more piano repertoire, Piano Lit may be for you! You can check it out at this link.

💜 Picks of the Week:

  1. 🎹 Performance: Last night I heard Sofya Gulyak perform Rachmaninoff's first piano concerto with the Indianapolis Symphony. The performance was spectacular, and she followed it with Rachmaninoff's Melody, Op. 3, No. 3 as an encore. [Watch here.]
  2. 🎵 Sheet music: Dennis Alexander - Nocturnes: Romantic-Style Solos for Piano. Alexander is a skilled composer, and this collection of nocturnes is very pretty and satisfying to play. Book 1 is for early intermediate to intermediate. Book 2 is for intermediate to upper intermediate. [Buy it here: Book 1Book 2]
  3. ✍️ Podcast Episode: Sticky Notes: "Rachmaninoff Piano Concerto No. 2." Learn the story of this iconic work. From the episode description: "We begin with the story of Rachmaninoff’s First Symphony, and then walk through this extraordinary concerto, highlighting what truly makes Rachmaninoff’s music so special. Hint: it’s not just the pretty melodies." [Listen here.]

🎹 Stay Connected:
🇭🇺 Study with me next summer at the inaugural Chroma International Music Festival in Miskolc, Hungary from July 9-19, 2026. Featuring a Young Artist Program and an Adult Piano Intensive.
Learn more and sign up here.
📺 Subscribe to my YouTube channel.
📚 See my favorite books and resources on
Amazon (affiliate link).
🎓 Interested in auditioning to study with me at Butler University? Reply to this email!


Dr. Kate Boyd
🎹 Pianist | Educator | Creator
Professor of Piano,
Butler University

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