> This is a very neglected area of piano pedagogy. It also relates to the great difficulty of most chamber works for piano. You are SO right. I really wish tha

> This is a very neglected area of piano pedagogy. It also relates to the great difficulty of most chamber works for piano. You are SO right. I really wish that modern composers would come up with a bunch of chamber stuff that actually sounds good (i.e. like real baroque/classical/romantic music) but isn't incredibly difficult. I have never once played in a chamber ensemble as a pianist, and I was up to about the level of the easier Beethoven sonatas by the time I "quit" and started focusing on guitar. All of my favorite chamber piano pieces (Mendelssohn piano trios, Schubert Trout Quintet, Brandenburgs, etc.) would require 2-5 years of intense daily practice to even play a movement at speed with mistakes. > Trust me, there’s a near infinite variety of ways to sound awful Yeah, yeah, okay, fair enough. But I'd bet that the biggest improvement most of them could make right off the bat would be keeping time properly. (Maybe not if you're on a wind instrument and can only honk.)