Nate

Two major ambitions defined my childhood. One was to become what I imagined headlines would refer to as “the first kid in space.” The second, which seemed more reasonable, was to become a great pianist. I realized when I was very small that I wasn’t like most people: I was double-jointed. I could bend the top joints of my fingers forward at will to create a sharp right angle, and pull my thumb all the way forward or backward to touch my wrist. This would, I thought, give me abilities at the keyboard that no other pianist could boast. I could only imagine the wild flourishes and the daring arpeggios I would master. I had a natural advantage, and I intended to use it.I was also a bit of what you might call a quitter back in those days. So when my mother took me down to the music Conservatory and the stern woman in charge told me I would have to learn the recorder—that fat, beige, orthopedic-looking thing—I walked away in disgust.

I nurtured no lack of rock-star fantasies and concert pianist daydreams over the next couple of decades, but I never touched another instrument—until now, at the probably-too-late age of 31. Maya, my enthusiastic and very patient teacher, begins the process by explaining the basics of music theory: tones, pitches, harmonics, chords, rhythm. I’m also learning how to read music, a completely different challenge than the instrument itself. Getting from this theoretical stage to actually playing a song feels like learning to dance by studying the properties of gravity. How do you turn these concepts and rules into something beautiful?

Well, for one, you play a lot of scales. I play them until my hands ache. I feel like every sullen adolescent forced to practice by well-meaning parents. When was the last time I actually had to practice something, anyway? I’m out of practice at practicing.