Conclusion

The reason why this project was created was the fact that although I ackquired some piano education in my childhood, I found my playing abilities not satisfactory and I wanted to improve them. But even after quite a long term search I wasn't able to find any source offering reasonable methodology to advance. So I started this kind of research and development journey. And I believe it was successful, the methodology presented here is on one hand innovative and on the other universal and compact and I believe sooner or later this approach in the area of piano education will become widespread, if not outright prevalent. Simply because it works and is very effective, more effective than traditional approach. All the findings and supportive tools presented here cover the area completely and help moving forward freely and individualy. But as well I encountered a point when it became obvious to me what is the difference between really good musicians and people like me. It is the level of musical perceiving. It is quite well-known fact that there are levels of - no muscial hearing, musical hearing relative (relative pitch) and musical hearing absolute (perfect pitch). On this scale I am positioned in the middle, what could seem good, because many good musicians and pianists are positioned there too. But after some more detailed investigation I found, that this stage splits itself into another two subcategories. Relative pitch refined and RP faint. Refined hearing manifests itself by bright recognizing and identifying of tone intervals. Like people with perfect pitch recognize individual pitches, musicians with refined relative pitch hear two tones and they know immediately what the interval is between them, without much thinking. Whereas those less lucky, although they recognize and remember melodies, as concerns intervals, it is difficult for them to recognize. Even if they train it, they need time to think, and still make mistakes. But for mature musicianship you need this ability to be prompt and refined well. I don't know what the ratio between the gained and the trained is on this field (although the gained is probably important). I don't know how much it is possible to develop it in childhood. It wasn't the objective of this investigation. But improving in this area for adults is not easy nor instant.

For me this project fulfilled it's purpose of maximizing my musician possibilities and understanding the circumstances. I can enjoy musicianship at my level and work effectively on identified shortcomings.