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The most recent questions and answers are listed here:
Dear Greg,
ok i just came home from your concert at cedarhust in mount vernon illinois. and i had a question that i forgot to ask in person. i once met a vilinist that said he envyed vocalists because they got to use words to convey the message. i am preparing to be music major concentrating on voice and i have trouble with expression. this is something that you obviously have no problem with. how do you do it?
- marlo smith
Dear Marlo,
How is one expressive? To answer that question, I'll direct you to Liz and my music listening manifesto. There are 27 tips for you, all of which apply not only to the act of listening, but also to the act of performing music. (We're so sneaky with our multi-purpose manifesto!)
Two thoughts on making our music listening manifesto apply to performance:
- In the few instances where we literally mention listening, try rewording phrases; replace "listen" with "perform." For example, #8 states: "Listen as if it were the last time your ears could hear. Savor it." In your situation consider, "Perform as if it were the last time you could make music. Savor it." (Incidentally, this is one of my favorite points. I love savoring things!)
- In all instances, consider the points from the perspective of a performer, but also consider the points from the perspective of a listener. A good performer is an extraordinary listener.
Good luck with your upcoming performances!
- Greg (March 6, 2010)
Greg!
Hey, how's it going? I'm doing a school career report on concert pianists (and yes, I did find this site through googling 'how much money does a concert pianist make') and WAS wondering how much a concert pianist makes /year and/or /concert, but only for the report information. My teacher is making us find this, and I cand find it anywhere else. I really am interested in pursuing this as a career, but not for the money, as you said, but for the joy and experience it brings you Thanks so much...and sorry about the inconvenience!
- Jill
Dear Jill,
Uh-huh. Here we go again. :-) For the sake of stray visitors, I'm going to do a little re-posting so that all readers are on the same page. After a reader asked me "how much money does a concert pianist make" (it wasn't the first time someone asked this), I provided a long response. My original posting is indented below:
I'm not in it for the money, and it bothers me when people become preoccupied with this facet of the profession. Every time I check this website's Google stats, I see dozens of people finding the site through some variant of the following search: "How much money do concert pianists make?" I mean, really?! For real?! If you care about money, please don't become a pianist. You may or may not make a significant amount (my income fluctuates wildly from year to year -- there's no way I could tell you my "salary"), but that's definitely not what it's about.
When a pianist seeks the fame and glory of the concert stage, he or she is probably on a path to disappointment; when a pianist is motivated by the genuine love of music, he or she will certainly find a satisfying musical career. There are countless fulfilling ways to make money as a pianist, not all of which are limited to performing on the concert stage. (Please view the "Ask Greg Archives: Career" for examples.) Yes, teaching music is one, but there are many more possibilities.
"What is it you do to support yourself financially?" The answer: I play the piano and compose.
Seriously.
I keep a busy concert schedule, both as a soloist and a duo pianist. My recordings are self-produced and selling well, so I actually make money when you buy one. Please buy one. I'm a YouTube partner, so YouTube pays me when you watch my videos on YouTube. Do it. Click on those ads next to the videos! :-) I receive commissions and royalties from the works I compose for The 5 Browns. Liz and I sell my piano duo scores to the public; you can buy them on the compositions page. That's most of it -- performing and composing! -- although I do give lectures here and there, I'll publish my book someday (someday!), and I have other surprising plans for the future in the works. At the moment, I don't pursue any financial gain through teaching, web design, video editing, or accompanying -- with everything that excites and consumes me, I simply don't have time.
Some people think I'm savvy, but I'm doing what feels obvious to me. I'm following my mission ("to make classical piano music a relevant and powerful force in society") in every avenue of my professional life, from my performances, compositions, concert programs, and recordings to my websites, videos, and book. My mission is ever present in what I do because I believe in it so passionately. It's not like the things I do are creative, random ideas; they are born from an innate necessity -- from a desire to make what I love relevant and powerful to others.
I really believe that if you are doing what you truly love, you'll find a way to survive. I'm not prancing about in piles of cash, but I manage to find enough doing what I do to pay my bills. I wish I had more (it would go right into recordings, videos, and websites!), but really, when it comes to money, my only concern is that I have enough to keep doing what I love. If it really matters to you how much money a concert pianist makes, I recommend another profession!
(Jan. 14, 2009)
Now your teacher wants hard, cold facts. Numbers. I get it. Exactly how much money does a concert pianist make? Try asking your teacher how much he or she makes.
Actually, just tell your teacher that the question simply does not apply to pianists. It's like jamming a square block through a round hole.
Pianists don't have fixed incomes like doctors, plumbers, teachers, or astronauts do. The variety of incomes among pianists is enormous -- and for that matter, a single pianist's income fluctuates wildly from year to year. Ask yourself, "how much money does an actor make?" The answer is not so different from how much money concert pianists make. The answer is case-specific, year-specific, event-specific! If you insist upon numbers, try an annual income range of $-1,000,000 to $1,000,000. I'm not trying to be difficult; it's just that there is no straightforward answer.
From my perspective, it's a bizarre question because I hardly know any pianists who make their entire income purely through performance. I listed my multiple avenues of income in the post I pasted above. Many, many performers teach, some compose, others write, organize, accompany, conduct, direct, analyze, collaborate, etc.. It seems that a well-rounded artist can't bring him or herself to reside purely on the concert stage. It's a bizarre question because many pianists make huge financial investments into their own career -- publicity materials are expensive; so are videos, recordings, pianos, and practice spaces. Many pianists I know are severely in the red, even if they make a a healthy income through performances. It's a bizarre question because many pianists are sponsored by generous individuals. Does this count as income? Sponsors allow musicians to share their talents with low-income audiences; sponsors make classical recordings possible (most classical CDs are expensive to produce, but do not sell well!); sponsors keep classical music alive. See that "Donate" button on the right? That button helps make my projects possible -- videos, writings, recordings, and more.
Okay, so how much does a pianist make per concert? Again, the answer is hugely variable. Many concerts are pro bono (performed free of charge), and some performances earn their performer as much as $50,000. This fee may or may not be in addition to the cost of travel and accommodations. Most large concert organizations can't afford to pay more than $5,000 - $15,000 in artist fees per event, and many have much, much smaller budgets.
All in all, I'm inclined to repeat my initial post. The successful pianists I know are not in it for the money, but they all find a way to survive.
One final note: before you go hammering out an hourly wage, please consider the incredible number of hours pianists spend practicing for their concerts... the time they spend on planes and waiting in security lines... the time they spend away from their families. It's a 24/7 job we love.
- Greg (March 6, 2010)
Hi Greg,
I just became a fan of yours a couple of minutes ago after watching your utube videos. I myself studied piano for 9 years, and particularly enjoyed your Mozart and Ligeti interpretations as you really seemed focussed into it. I only have a comment to make, why don't you play alone more often? I liked the girl Roe, but to be honest I think you are the star.
- Yellow Butterfly
Hi Yellow Butterfly,
Thank you for the kind words. Regarding la lovely, literary, limber, lyrical Liz... she's awesome. We have so much fun together, and I wouldn't have it any other way.
Liz and I both bring something completely unique to the table -- and by "completely unique," I mean "completely unique." I wouldn't be where I am today without her in my life. We're totally different people with a similar mission, a love for music, and a fondness for each other. Because of the mutual respect we hold for each other's differences, our time together is zany, spontaneous, and joyous. And because of our differences, our projects explode in directions neither of us could have ever imagined as individuals. There is no "star;" we're a team.
I have not abandoned my solo career. Nor has Liz. We're multi-faced people with many passions, and we consider the breadth of our careers to be a blessing. Who knows what to expect next? We simply love knowing that we're free to do what we want.
- Greg (March 7, 2010)
Greg,
Your husband to be? You guys are engaged? when's the wedding date :P
- Claire
Dear Claire,
That's right, my "husband-to-be." :-) Carl and I are happily engaged, and our wedding is set for the end of July. It's going to be a "guys" wedding if there ever was one. We're settling down into a life of adventure, after all. ;-) We're super excited for the wedding, but more importantly, we're ridiculously, awesomely excited that we were lucky enough to meet each other.
- Greg (March 7, 2010)
Hi Greg,
I am a member of a Scottish Music Society and we are hoping to help young classical artists of great get their name in front of those that can help them launch their career. It seems to me a very crowded and ultra competitive market and that "mere" talent is a commodity. It is in the "other stuff" that positive differentiation has its best chance. I am considering doing videos for them in the vein that you have pioneered. Any advice? regards,
- Keir Smart
Hi Keir,
I always cringe a little when I read messages like this, as if I made the Ligeti video to help my career -- or the Piazzolla, Mozart, or Moonlight videos -- or any of the videos for that matter (...besides the blatantly promotional Anderson & Roe promo video, of course!)! These videos were inspired by an inner necessity: in the case of the Ligeti video, my desire to to make the angular, dissonant music relatable to non-classical audiences (read about my thoughts on the "Devil's Staircase" page); in the case of the Piazzolla videos, to highlight the charged chemistry, the physical friction, and that element of danger so inherent in Piazzolla's tangos; in the case of the Mozart video, to visually communicate the joyful dialogue between the two piano parts; in the case of the Moonlight video, to inspire YouTube users to watch music performances from an aesthetic point of view and NOT a critical point of view. And knowing these videos would be watched by an inattentive, distracted audience, we presented the material very differently than we would have for an audience in a quiet auditorium.
All of that said, the videos have been extremely helpful in enhancing my solo and duo careers -- but I think people respond to the videos because they came from an honest place. Likewise, audiences react differently to authentic, honest music making than they do to insincere, self-promoting music making.
If you are helping young musicians start their careers, I advise you to try a different approach. Instead of starting backwards ("the videos worked for Greg, so let's make similar videos"), start from the foundation -- from the artist himself or herself. Find what really makes a musician tick, and go from there. Perhaps a pianist really loves the most serious repertoire -- a YouTube music video of Beethoven's "Hammerklavier" sonata would be a terrible idea because it's not suited to the medium; likewise, a showy Brahms hungarian dance music video would be a terrible idea because it wouldn't represent the artist. Rather, consider new ways to energize both the artist and the music he or she loves: perhaps the "Hammerklavier" would benefit from a different mode of performance. The piece is epic, and to think it existed within the mind of a deaf genius! What if you developed a mode of performance that emphasized Beethoven's isolation from the world ... and at that point in his life, his closeness to God? An empty church seems to perfectly capture that twisted sense of isolation and spiritual intensity. You could charge $5,000 for a single ticket to the performance, a one-on-one experience with the "Hammerklavier" -- the pianist and the sole audience member in an otherwise empty church. That could be pretty powerful.
Try considering a "new-music" advocate on for size instead. Pretend your artist wants to present a piano piece by Wourinen. To me, his music sounds so haphazard and jagged; I could envision a wild concert experience in which the audience was in a warehouse. Imagine each person taking a couple shots (yes, of alcohol) at the start of the event (is there any other way to listen to Wourinen??). Now imagine each audience member being given a huge canvas and materials (crayons, buckets of paint, wet cement, or whatever!) and some instructions. When the pianist begins performing the piece, the audience completely lets loose and creates individual (or communal) works of art as dictated by the piece of music. My canvas would look like a no-holds-barred explosion. This experience would be tremendously exciting and memorable! I'd literally be "living" Wourinen's music, and I'd never listen to his music the same again. The piece performed by the pianist would be indelibly etched in my mind. I think it would have the power to be a profoundly moving artistic experience.
These ideas could enhance the communicative potential of the music, *and* they would probably generate a bit of publicity, which seems to be your goal. Consider this "ground-up" method, and see what you can construct for your artists!!
- Greg (Oct. 23, 2009)
Hello Greg,
How do you cope with different pianos and acoustics at various venues? Any advice on that? Is it reasonable to expect one to be able to give a splendid performance on a totally new instrument with little time to try it out - if it's even a decent instrument!!
- candidman
Dear Candidman,
Great question! Varying concert hall acoustics (wet, dry, bad projection, misleading dynamics, etc.) and pianos (heavy action, light action, uneven action, bass-heavy, weak sound, etc.) can make for some pretty horrifying experiences as a concert pianist!
Interestingly enough, the unpredictability of it all bothers me less and less with each performing experience. What's important -- what really matters -- is that I connect with the audience. Most of the time, audience members could care less about uneven articulation or bass-heavy performance, and if I dwell on the pitfalls of the circumstances too long, I lose the ability to deliver a truly engaging performance.
Having said that, of course I adopt to the particulars of the venue: more pedal in dry acoustics, slower tempos in wet acoustics, nicer tone on harsh pianos, etc. But none of this is particularly intentional or thought out. Whenever I'm performing, I do my best to *listen* to the music I'm creating -- I listen, rather than rely on any practice room plan. This ability to live in the moment completely shapes my performance and keeps the music spontaneous, and as an added perk I'm continually reacting to any conditions related to the venue or the piano.
Happy adapting!
- Greg (Oct. 23, 2009)
Hi Greg!
I have stumbled upon a BBC documentary called "Imagine Being a Concert Pianist" and it features your piano class of 2004. From what I've understood from your teacher, Veda Kaplinsky, who is also featured in the documentary, every student in your class was (is) an exceptional talent however, she could not teach any of you how to become an artist, because the making of an artist has nothing to do with your teacher, regardless of which top-tier school you're going to. I'm not really sure what she meant but out of curiosity I looked up a few people from your graduating class and, with your exception, couldn't find much - does that mean that all these exceptional students could not find the "artist within" despite years of exceptional musical training? I see you found your path as an artist but I was wondering what happened to the rest of the bunch? I am quite aware that statistically, the chance for every piano student to be a concert pianist is very slim so I'm just curious what happens to an exceptional student who received an exceptional education yet did not have the making of an artist. Thank you so much and good luck!
- Andrea
Hi Andrea,
I'm so proud of my piano class! Here's a quick rundown of the current activities of the other 14 members of my undergraduate piano class of 2004:
- Brian, Hitomi, Joo-yeon, Teddy: still in school, working on their doctorate or artist diploma degrees in piano performance (they are performing and/or teaching as well!)
- ChenXin: performing and teaching, director of NY Music & Arts
- Elizabeth (my lovely piano duo partner): performing and teaching - www.elizabethjoyroe.com and www.andersonroe.net
- Greg and Melody: touring and recording regularly as members of The 5 Browns - www.the5browns.com
- Helen: performing and teaching - wikipedia
- Hilary: Ah! Not sure what she's up to. Let me know Hilary!
- James: member of Les Deux
- Michael: performing and teaching - www.michaelberkovsky.com
- Orion: performing - www.orionweiss.com
- Rui: performing and teaching
(If I've misrepresented any of you on this list, please let me know!)
- Greg (Nov. 6, 2009)
Dear Greg,
I am 16 and have been learning piano for 10 years and i am a chopin lover. I have just completed his 1st ballad but i am having trouble with the ending (my hands get tired). Are there any exercises that i could do to loosen up my hands or maby a good etude that could help. thanks.
- Ara
Dear Ara,
Aw man! Exercises! Etudes! Those are no fun! The first time I learned the 1st Ballade, I had similar trouble with the coda -- my hands got really, really exhausted. I worked really hard on it, always making certain my hands were relaxed and rotating properly (don't try to do it all with your fingers; use your arm and wrist to your advantage!) and always listening carefully to the beautiful textures and harmonies. In the end, it wasn't perfect and I still struggled.
A few years later (and many pieces later) I worked the ballade up again for a concert. Low and behold, the coda came very easily to me! My technique had improved sufficiently to render the coda's difficulties obsolete. Soooooo -- work hard, but be patient as well.
- Greg (Oct. 23, 2009)
Dear Greg,
I've read some of your answers suggesting the book "Pianism". I am very fascinated by the sound of it. Any ideas on where I can purchase it? I've looked on the website of the book, Amazon, eBay, and libraries and cannot seem to find a copy of the book...
- Hannah
Dear Hannah,
I'm so pleased that you are interested in Aiko Onishi's Pianism! The book is really wonderful. I recently redesigned the cover to the book and made it available on amazon.com. Here's the link:
I'll repost what I wrote earlier for the benefit of those reading this page for the first time: "First of all, I highly encourage you to purchase my mentor's book: Pianism, by Aiko Onishi. She articulates the techniques used to produce gorgeous tone better than anyone I know. In clear, simple language, she describes how to create a beautiful singing tone, harmonious tones, colorless tones, thick and chordal tones, and much more. The book is worth every penny -- 'a must,' if you will."
Her essays on phrasing, pedaling, and harmony are equally insightful and lucid.
Happy reading!
- Greg (Oct. 23, 2009)
Hi Greg,
I'm 14 and I'm wondering if I could go to Juilliard when I graduate high school. I've played for three years, but have only been serious about it for a couple months. In 4 months, I've gotten considerably better. I went and saw the 5 Browns last Saturday, and they were amazing. It was the only classical concert I haven't almost fallen asleep in. So, my questions are: 1.) is it at all realistic that I could get into Juilliard? and 2.) how much would I have to practice to achieve this? 2 or 3 hours a day? Thanks!
- Holly
Hi Greg,
I have been what you could call a "lost soul" when it comes to my future and what I would like to do musically once I reach college (I'm a junior in highschool). I feel pretty set on doing something music related. But I'm not sure what. So you wont be left in the dark, a little background on my music situation: I took two years of piano when I was nine years old, and after then have been playing for my own enjoyment and only recently was able to get back into lessons; at thirteen I played violin, again for two years, before switching to cello which I've found much more to my liking. I've only played for nearly half a year so far. I want to major in music but I don't know if that's possible for me, seeing as I've started so late and may only make five or so years of decent progress. I'm not sure if I could be an extremely advanced pianist, though it is an instrument I hold close to my heart and can usually learn on quickly; I've progressed well on cello so far and I think I may be able to learn quickly enough if I really practice hard. All of this worry about being "advanced enough" points to one college in particular... you guessed it: Juilliard. My family encourages me that I can do it. I've had the notion in my head for a while but I was too ignorant (and a little too self-assured) to study more seriously until now. Has there ever been a person advanced enough to study there who hasn't been playing since they were three? Can one reach that level in a short amount of time if they work at it? Am I crazy to want to go there still?
- Caroline
Hi Holly and Caroline,
Yes, it's unlikely that you would get into Juilliard, just as it is unlikely that any pianist will get into the school. But it isn't impossible. I can think of at least two pianists who began playing the piano when they were 13 and still got into the undergraduate program. As far as practice goes, I typically practiced a couple hours on piano and a couple hours on violin every day when I was in junior high school. I quit the violin later in high school and relegated its practice time to the piano. This, by no means, reflects what other students would need to invest to get into the school.
Having said all that, I advise you to remain flexible with your future. Don't pigeon-hole yourself into one path to happiness. While Juilliard is a fantastic place to be, it certainly is not the be-all and end-all of music schools. I received my doctorate at Yale, and my experience at the school was similarly wonderful and refreshing (the facilities there, btw, are incredible -- top notch). Who knows how your life will progress! If you don't get into Juilliard, please don't treat that as a sign of failure; the rejection could lead to a transformational experience at another music school... maybe you'll meet the love of your life, or you'll work with an amazing and magical teacher, or maybe your group of friends will ultimately band together to form a chamber ensemble of awesomeness. I always tell myself, "things work out the way they should."
Happy practicing!
- Greg (Oct. 23, 2009)
Dear Greg,
You're hot. So... the question is, are you single, as well?
- Josh
Dear Josh,
Thanks for the kind word.
I am in a happy, wonderful, and amazing relationship with a man who continually exceeds my dreams. :-) While he isn't a professional musician, he is a pretty fine euphonium player! You can watch my husband-to-be and me perform Piazzolla's "Oblivion" together on this very website.
- Greg (Nov. 6, 2009)
Dear Greg,
I was wondering how the lime light and how fans affect your piano playing and your day to day life. Like does the press and or fans ever make a big deal out of small meaningless things or issues unrelated to music that cause you to loose fans or for people to become more interested in the hoopla than your piano playing. I was just curious because my little cousin absolutly adores piano. I just started last year and am self taught, but I encouraged him to begin piano and he is inlove with the instrument. I'm genuinly impressed with his ability he picks up on things fast being able to see patterns in music right from the start. The hardest thing he can play at the moment is a simplifide version of Bach's toccata and fugue in D minor which excludes certain parts but I still had some trouble playing it. Anyway I wanted to ask you if people give you alot of attention or shit for things you don't want attention for or would prefer it not distracting from your skill since my cousin has a sensitivity issue where all of his nerves are hypersensitive so he cant wear certain cloths, be around certain noises ect (which may explain his versatility at piano with his really sensitive ear) and hes kinda shy about talking about his sensitivity issue. One more question. I am going to college this year and obviously can not afford the space or money for a piano in my dorm should I invest in a nice keyboard or would playing a half hour in a practice room every few days be enough to prevent my skill from atrophying.
- Raiko
Dear Raiko,
I'll answer your easy question first -- if you can afford to buy a nice, weighted keyboard, go ahead! I love my Yamaha P90 and use it often. (This is the only time you'll hear me endorsing a non-Steinway piano.) :-)
The other question is interesting, but my response is similarly simple. Classical musicians do not suffer from the same sorts of celebrity invasion as pop musicians. Only very rarely does anybody recognize me on the street. I can't imagine that strangers will start gossiping about your cousin's sex life or something similar (unless he becomes the next Martha Argerich).
Upon reflection... I suppose there are some whispers shared about Liz and me -- people are still trying to figure out the nature of our relationship. (I'm gay; she's straight; we're just good friends!) But we don't care what others think. We'd rather be our honest, authentic selves than try to shape the opinions of others. We'd rather direct our attention to more important matters -- giving a great performance! If extraneous details turn people off -- or bring in a crowd -- who cares! We're having a great time at the piano.
- Greg (October 23, 2009)
Dear Greg,
Have you ever collaborated with a mainstream musician? I think that you and John Mayer would produce some crazy awesome music (oh, to be a fly on the wall during that brainstorm session...). Just curious.
- Susan
Hi Susan,
Yes, I have dabbled with popular elements here and there. The most obvious example: I arranged "Everybody Loves Somebody" for five pianos and voice. You can listen to the work on the 5 Browns' latest album, "Browns in Blue," performed by the 5 Browns and Dean Martin himself (in a previously unreleased vocal recording).
I'm sure that throughout my life, I'll continue to have unique experiences with mainstream musicians, but my true love is classical music. I love its shapes and forms, its complexity, its harmonies, its passions. It's sort of like mac and cheese -- I love all types of food in moderation, but I could eat mac and cheese for every meal if I had to. The same with classical music.
- Greg (October 24, 2009)
Hi Greg,
I read your response about your Juilliard audition and saw your repertoire at the end. Wow - my repertoire is EXACTLY the same!! I am a senior in high school auditioning, and I was wondering what connections (if any?) you had to the faculty before your audition - maserclasses, lessons, etc. Thank you!!!!
- Mariam
Hi Mariam,
Wow -- what a coincidence that our audition repertoire was exactly the same!
I didn't have any connections when I applied to Juilliard. The closest thing to a connection: I attended Bowdoin Summer Music Festival during my sophomore year of high school -- while I was there, I watched Veda Kaplinsky teach a masterclass. I can definitely attest that Juilliard admits students based on ability, not connections.
- Greg (Oct. 24, 2009)
Do you teach piano as well?
- Rae
Dear Rae,
No, I do not. I often give masterclasses, and I really enjoy doing so, but I simply do not have the time to teach privately. With all the composing I do, the performing, the writing (my book), the video editing, the answering (of questions on this site!), I hope you'll forgive me for not adding another entree to my plate. :-)
- Greg (Oct. 24, 2009)
Hi Greg,
Wonderful arrangement of 'Oblivion'. Is your arrangement published by any chance? Available for sale? I am playing with a flutist, would love to have your arrangement, maybe transposed for flute?
- Josephine Yung
Dear Greg
where can i buy sheet music which is "Oblivion" by Astor Piazzolla, arranged for EUPHONIUM and PIANO by Greg Anderson? i am a euphonium player. i want to put this music at my concert.
- No Name
Dear Josephine and No Name,
Thank you for your interest in my music and arrangements! I am currently working on making my various arrangements of Piazzolla's music available for sale. There are a number of legal clearances I must hurdle first. Once these are all tended to, I'll breathe a giant sigh of relief, and I'll email my mailing list. Thanks for your patience!
- Greg (Oct. 24, 2009)
Greg,
how much money does a concert pianist make? - Ty
Dear Ty,
Really? Really? Are you asking me that? I'm going to do a little copy and paste (a big one, actually) -- for your convenience, I'm pasting a long reply I wrote to someone who asked me about my financial situation:
I'm not in it for the money, and it bothers me when people become preoccupied with this facet of the profession. Every time I check this website's Google stats, I see dozens of people finding the site through some variant of the following search: "How much money do concert pianists make?" I mean, really?! For real?! If you care about money, please don't become a pianist. You may or may not make a significant amount (my income fluctuates wildly from year to year -- there's no way I could tell you my "salary"), but that's definitely not what it's about.
When a pianist seeks the fame and glory of the concert stage, he or she is probably on a path to disappointment; when a pianist is motivated by the genuine love of music, he or she will certainly find a satisfying musical career. There are countless fulfilling ways to make money as a pianist, not all of which are limited to performing on the concert stage. (Please view the "Ask Greg Archives: Career" for examples.) Yes, teaching music is one, but there are many more possibilities.
"What is it you do to support yourself financially?" The answer: I play the piano and compose.
Seriously.
I keep a busy concert schedule, both as a soloist and a duo pianist. My recordings are self-produced and selling well, so I actually make money when you buy one. Please buy one. I'm a YouTube partner, so YouTube pays me when you watch my videos on YouTube. Do it. Click on those ads next to the videos! :-) I receive commissions and royalties from the works I compose for The 5 Browns. Liz and I sell my piano duo scores to the public; you can buy them on the compositions page. That's most of it -- performing and composing! -- although I do give lectures here and there, I'll publish my book someday (someday!), and I have other surprising plans for the future in the works. At the moment, I don't pursue any financial gain through teaching, web design, video editing, or accompanying -- with everything that excites and consumes me, I simply don't have time.
Some people think I'm savvy, but I'm doing what feels obvious to me. I'm following my mission ("to make classical piano music a relevant and powerful force in society") in every avenue of my professional life, from my performances, compositions, concert programs, and recordings to my websites, videos, and book. My mission is ever present in what I do because I believe in it so passionately. It's not like the things I do are creative, random ideas; they are born from an innate necessity -- from a desire to make what I love relevant and powerful to others.
I really believe that if you are doing what you truly love, you'll find a way to survive. I'm not prancing about in piles of cash, but I manage to find enough doing what I do to pay my bills. I wish I had more (it would go right into recordings, videos, and websites!), but really, when it comes to money, my only concern is that I have enough to keep doing what I love. If it really matters to you how much money a concert pianist makes, I recommend another profession!
- Greg (Jan. 14, 2009)
Dear Greg,
Very nice, interactive site here! You seem to know the ropes of the music world pretty well, so I thought I'd ask a question. I was pretty serious about piano in my teens--I went to Interlochen most summers, was on "From the Top," and I had lots of success in local competitions. Come college time, I wasn't very interested in taking the "music major" path. I mostly pursued other interests, graduating with a French major and a writing major, with a bit of piano lessons and practicing on the side. Near the end of school, I totally changed course and realized I wanted to be a pianist. I'm now in the graduate program at Carnegie Mellon with plans to apply to Peabody for a doctorate next year. I guess my question is: Does anybody succeed in the music world without having done an undergrad music program? I'm really not going for the "insanely successful concert pianist" thing. If I could join a university faculty and keep a relatively busy recital schedule, I would be quite content. Do any names come to mind of successful pianists who made their "music career" choice after undergrad? I feel dumb for having missed the chance to do a 4-year conservatory program, but hindsight is 20/20, and so on.
- AJ
Dear AJ,
That's a great question! I really don't think it matters what degrees you have; if you play well, you play well, and people will notice. Two very famous cellists majored outside of music and did very well for themselves: Yo Yo Ma and Alicia Weilerstein. That said, a university faculty position and a relatively busy recital schedule is a lot to ask for, even for most conservatory-educated gradates. I have so many friends -- with doctorates -- who would give most anything for a university faculty position!
There is no reason to harbor regrets for decisions you made; you can always use your undergraduate degrees to your advantage! Try programming concerts of French music; demonstrate to audiences how the lyricism of the language translates into the music; talk about French poetry -- what makes it beautiful, unique, or interesting -- and show how French composers utilized these attributes in their music (Gaspard de la nuit is terrific for this). Or: develop concert programs that juxtapose writing and music... that is fertile ground -- you could devote several concerts to Goethe's Faust! When you apply for teaching positions, use your academic credentials as an asset -- offer to teach classes on the topics I just mentioned, or simply state that you would be able to relate especially well with students pursuing academic degrees.
Cheer up! No regrets!
- Greg (Oct. 24, 2009)
Hello Greg!,
You are such an inspiration for me! I've been playing piano since i was 8 and i am now 13 years old. Just a couple months back, I was thinking about my future, and I finally decided that I wanted to become a professional pianist. I know it would take a lot of dedication and time, but I have decided that once I get out of High School I am also going to be a Lawyer or Doctor, and I plan to make time for piano. I dont know how well that would go, because my mother does not approve of me becoming a professional, so she won't let me attend Julliard. So, do you have any advice to give me?..Do you think I would be able to become a professional after years more of training? I mean, I would like to perform, but not to big audiences and not at concerts...just at small things like Church, or weddings or such. I do not plan to travel the world and spread my piano playing. My teacher has told me that for the last two years i have been playing extraordinarily well! and he says that he is proud of me for that, but do you think with all my lawyer and doctor stuff that i'll still be able to become a professional? Once again, I dont want to be known worldwide or nationally..i just want to have the ability to play the most advanced piano pieces...thank you Greg! I hope you reply to this message!
- Catherine
Dear Catherine,
Wow! You have big plans! ... a doctor, a lawyer, a musician! Good for you. The description you provided in your question sounds entirely reasonable. Unlike becoming a pianist, becoming a doctor or a lawyer does not require decades and decades of training. In other words, you can start training to be a doctor when you're 30, and you can still make a career out of it; it is highly improbable that someone could start playing the piano at age 30 and make concertizing their career.
I know dozens of medical and law students at Yale who majored in music before coming to Yale -- no pre-med degrees, no science degrees, no political science degrees before coming -- just music degrees. The medical school at Yale is so supportive of music that they have a full symphony orchestra; they had over 200 medical students and residents audition for the orchestra last year!
Practice hard and have fun. There is no need to stress out; with your goals, you should be able to do it all.
- Greg (Oct. 25, 2009)
Hi Greg :D
I'm a college sophomore music major with about ten years of formal study under my belt. I've wanted to be a doctor since I was little and had been playing piano off-and-on for about as long until I hit eight years old, I think. However, it took me until college to realize that I love music more than what I thought (had I realized that earlier I'd have applied for a conservatory, but alas, life is life and there's plenty of time for that down the road). I'm still doing the med school thing, but I'm hitting grad school in music first. Okay, my question. I'm a tiny person. Nine times out of ten the piano bench doesn't lower enough for my feet to hit the floor, and I can only hit a ninth comfortably -- even that can be a bit of a stretch for my right hand. It just so happens that I have a strong affinity for Russian music, especially anything composed by The Five. And what piece did I just happen to fall in love with after hearing it for the first time? Islamey by Balakirev. My piano prof thinks I have a "masterpiece syndrome" or something because I have this knack for falling in love with big-handed hard pieces. Understandably, a lot of Russian music requires a pretty big stretch, which I'm not that capable of. I'm trying to grab as many of the reaches (particularly the tenths) with my RH as possible, but I can't grab all of them that way. Stylistically, how would you recommend approaching those? In areas where the texture is thicker I'm having no problem -- it's the D-major passage in the middle I'm trying to address because the beginning of that section is rather tranquil and I feel that rolling the tenth kinda kills the mood a bit. Also, do you have any recommendations as to what I can do exercise- or stretching-wise to try to improve my reach? I'm getting rather sick of having to roll almost every chord every time I play Rachmaninoff. Thanks! - Angel
Dear Angel,
You can always find inspiration in the late Alicia de Larrocha. She had tiny hands (she could barely play an octave) and she could sail through Rachmaninoff's concertos like nobody's business. She spoke eloquently about her trials and tribulations pertaining to her hand size in David Dubal's "Reflections from the Keyboard:"
Reflections from the Keyboard: The World of the Concert Pianist
Also, Aiko Onishi speaks at length about stretching exercises -- a great way to improve flexibility and hand span -- in her book "Pianism:"
I heartily recommend both books!
- Greg (Oct. 25, 2009)
Hi Greg!
I always enjoy your website and appreciate the support you give to young musicians. I have one question--how do you memorize music on a deadline? I'm looking for a fast but reliable method of memorization.
- Katie
Dear Katie,
Oh, memory! I hate memorizing music! You'll hear a lot of pianists speak about how they play better without music; and then you'll hear them say that all pianists play better from memory -- that a pianist only really knows a piece once it's memorized. I think this is a load of baloney. It is incredibly close-minded too.
Everybody learns differently. Some people have to write things down, others need to see it, and others need to hear it. Some people rely on rote memory, photographic memory, analytical memory, or aural memory. I remember dutifully taking notes during school classes for years; I thought that was the best way to learn. The trouble was: I couldn't concentrate both on spelling words and listening to the teacher. It wasn't until my third year of college that I realized I learned better -- and retained information better -- if I simply listened to the teacher. No notes at all!
With that distinction in mind, I believe many pianists could perform better with the music in front of them, but they have been lead to believe that they are inferior unless they memorize the score. As a visual person, when I can see the curves and shapes of the counterpoint in a Bach fugue, I play very differently. Unfortunately, I usually just bend to conventions and play from memory anyway.
The memory techniques that I use may not work for you; nevertheless, here goes:
- I memorize just a section of music at a time.
- I learn and memorize everything hands separately.
- I have many, many, many "memory points" -- points in the score that I can jump to at any moment. I rarely find myself actually jumping to a memory point; instead, I use them as stability pillars -- they are like buoys keeping me afloat.
Good luck finding what works for you!
- Greg (Oct. 25, 2009)
Hi Greg!
I am fifteen years old and I deeply want to study piano performance along with composition and theory at a university level by the time I am finished with my high school career. I understand that every school is different in its standards, but I can't help but ask: How tough is a Julliard audition and gaining acceptance? I ask because you've been a massive inspiration to me and my "quest" in studying at a university level.
- Chad Aboukaram
Hi Chad,
Ummmmmm..... I'm not sure how to answer that question. :-) "How tough is a Juilliard audition and gaining acceptance?" The answer is very subjective; for some people it's a piece of cake, for others it's more akin to eating a bed of nails.
The acceptance rate for the school is somewhere close to 10%; the acceptance rate for the piano department is lower, closer to 5%. This is what I've heard, though I don't have the evidence to back up those figures.
Thank you for your nice words, and I wish you the very best!
- Greg (Oct. 25, 2009)
Hey Greg!
In your bio, you are described as a gifted musician who was able to tackle some very tough works in a matter of months within you're beginning. I ask, did that ability come from long hours of practice and dedication, or did it simply come to you?
- Chad Aboukaram
Hi Chad,
The bio is playful and humorous, but it is true -- I devoured my teacher's first four years of piano study books in a few months.
Many concert pianists begin playing the piano at a very early age -- 3 or 4 years old. I began when I was 8 years of age: comparatively I was "old!" I believe that during those first months of study, I caught up with those who had started much earlier. It definitely came naturally to me; I wasn't practicing much longer than 30 minutes a day. By the time I was 9 I was learning at a more reasonable rate, even though I started practicing longer hours. I worked very, very hard -- long hours of "practice and dedication," as you say -- later in elementary school, high school, and college. Liz always refers to me as a "voracious practicer!"
- Greg (Oct. 25, 2009)
Dear Greg,
First let me begin by saying that I discovered you and your musical brilliance via youtube and that extravagant video of you and your accompaniest's interpretaton of "The Blue Danube", an exceptionally well demonstrated piece of art I must say. Anyway in light of seeing your evidently incredibly skills I took some time to look at my own, and though I've only been playing piano for about three years (with rapid improvement due to my prior musical learning via the flute for about 6 years) I was interested in doing it as a career. I just want to know if I'm being realistic. I'm twenty years old now and working on building a repotoire to apply for an undergrad school (certainly nothing as prestigous as Juilliard, perhaps I could end up there for grad school). If my private teacher thinks I have the talent and technique to pursue it do you think it's unrealistic to fulfill my dreams of being a orchestral pianist? Am I just too old to start working towards a dream like that? I'm sure you get numerous variations of this question but any other answer than one specifically catered to my personal question just simply won't do. My sincerest thanks for your time in even bothering to answer. All the best in your own musical endeavours! Your are certainly a talented and devoted individual!
- Lawrence Scanlan
Dear Lawrence,
Wow. An orchestral pianist! That is a fantastic idea, but there are a few things you should know about the position:
- Orchestral piano jobs are very hard to come by. There are few positions and the demand for them is high.
- Orchestral piano jobs are usually part time. Most orchestral pianists I know have other jobs on the side.
- Some orchestral pianists are also employed by the orchestra to play in chamber ensembles with other orchestral musicians -- they are expected to be multi-faceted musicians that can fit in whenever and wherever they are needed.
- Orchestral piano jobs often come through "connections" -- in other words, current members of the orchestra often recommend pianists they like to fill this role.
- Orchestral pianists MUST be able to count. The few orchestral piano playing jobs I've taken over the years have made significant demands on my ability to count empty bars (49 bars of rest +3 bars of 5/8 time +7.5 bars of prestissimo 3/4 time, then PLAY!)
Orchestral piano playing is a unique and fun universe! I wish you the best in your pursuits.
- Greg (Nov. 4, 2009)
Dear Greg,
I recently stumbled over your interpretation of "L'escalier du diable" on youtube and have to say that I love it. It´s better than any interpretation I heard before. I really would like to buy it in a high quality version. Is it somwhere available or can you make it available e.g. on iTunes. Thanks a lot!
-Rainer
Dear Greg,
I saw your video of Ligety's "The Devil's staircase" and i loved it (i posted a comment in youtube). Do you have a record with this composition? Thank you in advance.
- Eduardo Pola
Dear Rainer and Eduardo,
Thank you for your ultra kind and flattering comments! Unfortunately I have not yet professionally recorded the etude. I certainly hope to some day, but it may be a while; the album I am currently preparing does not include the etude.
Best!
- Greg (Nov. 4, 2009)
Hi Greg,
First I would like to congratulate you on you amazing achievements at such a young age. I am a 54 year old mother and a true music lover. As a teenager I studies piano for about 4 years. When I fell in love (with my husband), he became the centre of my universe. There was no room in my life for my piano I thought. Sad to say after 30 years of marriage he vanished from my life (I believe forever). I was heart-broken. One day I found a used piano in a local furniture store. I bought it and started to practice. It was depressing at first. After 25 years (minimum) of not touching the piano I had forgotten everything. I could not even read notes past one octave. I struggled to say the least. It’s been exactly 1 ½ years now. I am happy to say that now I can sight-read quite well and I am playing at about grade 8 level. I practice 3 ½ - 4 hours per day. I want to become a meaningful and a very natural pianist. Please tell my how long will it take? Thanks a million notes. Emma
- Emma Votre Fan
Hi Emma,
First off, I am sorry for your troubled experiences, but I'm happy to learn that you found some respite in music.
At 3.5 to 4 hours of practice a day, I'd say you're well on your way to becoming a skilled pianist. Of course, it's impossible to answer such a subjective question -- how can I possibly articulate the definition of a "meaningful and natural pianist" and the hours necessary to become one??
My advice to you: forget how long it will take to become "good" or "better" -- instead, focus on having a wonderful time doing exactly what you are doing right now. Enjoy practicing the pieces you are currently learning and forget about what is yet to come. I've been playing the piano for over 20 years, but I've loved *every* day of it.
- Greg (Nov. 4, 2009)
Greg,
its the second time im asking this question and nobody cares.im 27 ,ive been playing for about 3 years.im not good enough but i 'd love to become a good pianist,what should i do?and is it possible considering my age and few years of playing?
- Celine
Celine,
You'd have a better chance at winning the lottery than becoming a concert pianist at this point in your life. That said, there is no doubt in my mind that you could become a "good" pianist someday in the future. Actually, who knows, perhaps you already are a fantastic pianist.
My advice for you is the same advice I gave to Emma above: forget how long it will take to become "good" or "better" -- instead, focus on having a wonderful time doing exactly what you are doing right now. Enjoy practicing the pieces you are currently learning and forget about what is yet to come. I've been playing the piano for over 20 years, but I've loved *every* day of it.
Seriously. Live in the moment. You'll definitely get better with time, but playing the piano is one of those things that should be awesome all the time, regardless of your ability.
- Greg (Nov. 4, 2009)
Hey Greg!
I love your website and your music. To study most standard literature, how fast should I be able to play scales? I understand that the quality of the scale is more important than the speed and that more speed will come with time and relxation. Thanks,
Josh
Hi Josh,
Oh goodness, you're asking the wrong person. I've never played scales -- not one day in my life -- never. I'd much rather play music than learn scales. ;-)
- Greg (Nov. 4, 2009)
Dear Greg,
I have some pieces you may be interested in. Want 'em? I have scores and recordings.
Dear No Name,
Yes, I always enjoy looking at new scores and hearing new music. I make no guarantees that I will perform works you send -- my repertoire wish list is huge and there isn't enough time to learn everything! You never know though -- the music you send could make it onto my wish list and someday be the perfect piece to fill a recital program -- or inspire a recital program, for that matter!
- Greg (Aug. 3, 2009)
Dear Greg,
i am a 16 year old pianist and is now a grade 5 student.i started when i am 12.During the holiday before the year 2009.i suddenly become very ambitious and i wanted to become a concert pianist.But the problem is there seems to be too many discouraging post and also encouraging post about being a concert pianist.most professionals says that one must start at a very very early age to become concert pianist.now i am so scared because even i if i am a quick learner i still cannot make it to grade 8 or deploma before entering a music university.those who started early get to play excellently before 12 and then they still have the many years to fix every single weakness.i am starting to feel the stress now because i put a lot of hope onto piano career and i surely don't want a very very dissapointing days after all those hardwork like a begger on a street playing piano and too poor to buy anything and die.i want to have a very normal and also very sustainable live doing a job that i love.The main reason i become so obssesed about piano is when i feel sad i get to play sad piece and when angry i play crazy technical piece just like all those actors in movies.and i think piano is something that is classy(high class , all those tuxedo stuff).i would like to be a person of high class somedays later.my mum said i am going to college near my place to study whatever while attending piano lesson at my area to continue until diploma.and then i apply for music college again after my college years. and of course i manage to play plenty of hard piece which my teacher don't know i can play them.i am better then all student that is in my grade(those students play piano just for fun.but i take piano more seriously then them).i play the kholer sonatinas book and i have to learn those piece.took others 2 weeks or more to play 1 movmment but took me only 1 week to play 1 movement(the most is 2 weeks if the piece is hard).i also learn the exam piece before my teacher even ask me to try it.my teacher was shocked when i played it out straight away.and i plan to migrate out of my hot country to a colder country.so dig into my essay and correct any wrong opinion and give advise and anything you want to say to me.i am just a very obssesed and discouraged pianist.i am starting to feel more head ache now to think about my future and everything about piano and about time i have left.your advise is greatly needed by me.
-Daniel C.H.L.
Dear Daniel,
Yikes, lets take a deep breath! I'm not going to have any answers for you; nor will anyone else. Nobody can predict who will have a huge, successful, world-traveling piano career and who won't. If you're playing the piano purely because you hope for such a career, I recommend you find something else to do, because you're playing the lottery with your career!
You sound somewhat conflicted... Piano and high class society? Playing the piano can be a classy occupation (though it certainly doesn't need to be), but it is very unlikely to provide you with the finances to join high class society. Obsessed and discouraged? Obsession is an absolute must for any thriving piano player, but if you are truly, truly obsessed, it is unlikely you will ever find yourself discouraged for very long. A rather wonderful perk of obsession: it makes you oblivious to any setbacks or impossibilities. (Of course, if you're of the obsessive temperament, I recommend you direct your obsession down healthy avenues.)
I also sense somewhat of a competitive vibe from you. Does it really matter how fast your high school classmates learn their music? As you say, use the piano as an outlet for your emotions, not as means to bolster your self-worth.
If, however, (and I've said this many times before -- please see the "Ask Greg: Career" archives) you simply want to play the piano for a living, go for it. Society has many, many different needs for pianists that you could fill. Most piano careers will not make you incredible wealth, so as I said above, joining the upper echelon of society is unlikely, but they can be extraordinarily satisfying.
Just make sure that you chose a career playing the piano for the right reasons; if so, things will work out.
- Greg (August 12, 2009)
Hey Greg! I was just wondering if you knew if Leavesden Studios offered any work experience ? Thanks for your help!
- Catherine
Hi Catherine,
During my residency at Leavesden Studios, I did see a few people "experiencing work," but I have no idea how they came by such work experience. I wish you the best, and I'm sorry I can't be of more assistance!
- Greg (August 12, 2009)
Hello Greg!
I visit often since I discovered your page last year. You have, many times, given me the motivation to practice by watching just how INCREDIBLE your musical and technical skills are. You and other amazing pianists gave me the personal urge to pursue this level for myself, too. I have always wanted to ask you questions, but I suppose now is the time after coming home from an embarrassing performance -- a harsh wake up call to not rely on motion memory. (Oops!) I'm 17 years old and have been playing piano for ten years. I'm a "late bloomer", as in I didn't take piano seriously until the past year. It became a frustrating, but somewhat rewarding journey of learning what works and what doesn't. So far, I've made huge strides with a new teacher, learning how to play relaxed, and relearning how to play dynamics in a relaxed manner which helped my playing tremendously on top of what I already know. Now here are the questions: What makes "quality practice"? What about practicing that makes it enjoyable for you? And out of curiosity, what are your stages of learning a new piece? I know the importance of practice, but for years I've been doing so by playing notes over and over without much thoughts into them. I now know it won't work in the long run if I want to advance, which I would very much love to do. I'm also slowly discovering how the instrument works, limitations and all, in order to apply them into my playing. This is the most difficult challenge for me because I have all these wonderful ideas in my head, but have trouble projecting them through the piano. I assume it's also a difficult question to answer through the internet, but if you have any tips and suggestions on this, I would greatly appreciate them. Thank you for your time!
-Shirley
Dear Shirley,
I apologize for the delay in my response to your (and others') questions. There has been quite a lot to keep me preoccupied lately!
How should one practice? Aw man! How am I supposed to answer that one in such a modest forum!? You effectively described how NOT to practice ("I've been doing so by playing notes over and over without much thoughts into them"), but it's terribly difficult to describe how one should practice. Every piece needs a different approach.
I suppose I have four general tips for you:
1) Your practicing should mean something. Don't waste your time with auto-pilot drill work. Read my thoughts on thinking about music in the "Practicing" archive, dated 11-3-08.
2) Always be "present" when you practice. Effective practicing requires 100% of your attention. If I can't focus, I don't waste my time practicing; this means I sit down at the piano only when I'm well rested and willing separate myself from the rest of the world for a few hours. Challenge yourself to see how focused you can be. How dramatically can you improve a single line of music? How beautifully can you voice a single chord? How effectively can you create an entirely new universe? How colorfully can you shape a single line of counterpoint?
3) I almost always endorse slow practice! Take your music apart -- and I mean, really take it apart. One of my favorite things to do is to play the music one chord at a time. I stop on each chord and listen to its beauty. What makes it beautiful? Is it the third? the seventh in the bass? the wide spacing? Try voicing the chord in different ways; unlock the potential of the chord. I also like working out passages one hand a time; using both hands to play the single staff of music. (For example, I use both hands to play just the left hand part.) Essentially, I want my ear to hear the potential of a passage without the technical obstacles. Once the most beautiful sound possible is in my ear, I work out the part in the correct manner. My ear then guides my solo hand to create the sounds I just created using both hands. You can also turn fast passage work into slow, exaggerated, breathtaking music; that always offers me hours of fun!
(Slow work helps your ears discover more nuances and uncover new layers of detail, so that by the time the music is racing by, you have a solid understanding of what's going on. However, all of your slow work should never contribute to a calculated performance at full tempo. In performance, you toss everything to the wind and play freely.)
4) Related to all of the above, I recommend practicing away from the piano. Listen to the music in your head. (Don't listen to a recording! Literally conjure the sounds in your head.) Shape the music exactly as you want it to sound at the piano. This is surprisingly difficult, but it is efficient and effective. As mentioned above, the more you know how you want to sound at the piano, the more your hands will know what to do.
- Greg (May 10, 2009)
Dear Greg,
Hi, I am attending a High School of The Arts, my major is piano. I was amazed by your arrangement of LibreTango. From my understanding the composition will not be available until 2010, My final exam, Duet concert will be held in 2010, so i would greatly appreciate your effort to finsh all the legal stuff ASAP. If by any chance, something comes up and it is not possible, would you share what ever methods were needed to transcribe the piece so i can get started?
- Jovian
Dear Jovian,
Thanks for your devoted interest in my arrangement of Piazzolla's Libertango! I never said anything about the score being released in 2010, so don't get your hopes up yet. (Liz and I plan to notate our New Account of the Blue Danube Waltzes to release it in 2010. We'll turn our attention to the Libertango arrangement after that.)
As for "what ever methods were need to transcribe the piece"... it's not like I plug the notes into a formula and let the computer do the work. There's a great deal of creative and original work that goes into creating an arrangement of a piece; rarely does a faithful, dogmatic treatment of an original's notes result in an arrangement that is faithful to spirit of the score.
My arrangement of the piece comes with its own set of intellectual copyrights, and while I invite you to create your own arrangement, I kindly request that you do not copy mine.
Mailing list members will be the first to learn of the work's eventual publication. In the meantime, best wishes to you; have an awesome duo concert!
- Greg (April 25, 2009)
Hi Greg,
I saw your amazing repertoire list and I just want to ask you this: 1. Are you able to play all these peaces any time when someone picks up a piece? 2.Do you need to prepare them all over again? 3. What is the repertoire list for if you anyway practice one program at the time?
- Laurana
Dear Laurana,
The pieces on my repertoire list have been "field-tested;" this means that for any given work on the list, I've probably spent a great deal of time thinking about what the piece means to me, I've memorized it, performed it publicly, and worked out the technical kinks. I certainly can't play most of the works at the drop of a hat, but they usually come back to my fingers pretty quickly when I invest the proper energy into relearning them. In fact, I find that when I relearn a work, it somehow happens to feel markedly better than it did before; it's as if my mind had been practicing it all along.
I like to cater my programs to particular audiences, venues, and concert series, so it's rare that I trot the exact same recital program around with me from city to city. My repertoire list is mostly used by concert presenters when they make requests. I can always learn new music, but it's not reasonable to learn entirely new programs for every performance. The chamber and concerto repertoire lists are particularly helpful when events are planned last minute, such as when an immediate replacement is needed.
- Greg (May 10, 2009)
Hi Greg,
I have been taken piano lessons for over 6 years now. I started taking lessons when I was 43 years old. I usually spend at least an hour per day practicing, but I'm not happy with the outcomes. I can play Fur Elise, some of Bach's pieces, and Chopin. But, each piece took me so long time, like two-three months, to master. Is it normal for my level? Secondly, my goal is to play pop music but I have been trained with classical music teacher. Should switch teacher to pop music teacher now? Thirdly, when can I stop taking lessons then practice on my own?
- Vince
Dear Vince,
Playing the piano is hard! It takes unlimited perseverance to master *any* piece of music; "unlimited" because you'll never really master it -- you can always improve! Even concert pianists look for outside advice and seek the counsel of teachers. I wouldn't worry -- two or three months is not unreasonable at all for the pieces you mentioned, especially considering that you've been playing for only six years.
If you'd like to play some pop music, then you should! I assume you are playing the piano for your own, personal enjoyment; if so, then you should occasionally be able to play what you want! I agree that classical music training is important, but perhaps you could spend some time every day working on a song you like. Or, you could sight read a new tune each day. The more you improve your sight reading, the faster you'll learn the notes to new pieces (though it will still take a while to "master" the music), and the less frustrated you will be during your practice sessions.
- Greg (May 10, 2009)
Dear Greg,
I wanted to ask you a question specifically about tone and how it is produced. I noticed listening to you and other pianists of very high quality like agerich or gilels(of whom I feel you could be in a league with some day), they have a very Big quality to their sound, in addition to whatever other aspects of there tonal quality are produced such as percussive versus sensual tones, bright vs. warm, soft and rich. My question is, how exactly can one practice to achieve these kinds of sounds? Is it something innate and inborn or is there a particular method? I ask you because I noticed that your playing has a similar caliber of tonal quality i.e. really really Full sounding. Thanks
- Michael Dawkins
Dear Michael,
Thank you! When it comes to the simple sound of the piano, I love the straightforward tone created by Gilels, Argerich, Rubinstein, and Weissenberg above all else! I'm flattered to be compared to anyone on that list.
First of all, I highly encourage you to purchase my mentor's book: Pianism, by Aiko Onishi. She articulates the techniques used to produce gorgeous tone better than anyone I know. In clear, simple language, she describes how to create a beautiful singing tone, harmonious tones, colorless tones, thick and chordal tones, and much more. The book is worth every penny -- "a must," if you will.
Aiko Onishi and Julian Martin (my teacher at Juilliard) significantly contributed to the development of my "tone," but much could be also considered a matter of my personal taste.
The simplest piece of advice for you: "hear" the sound you would like to produce from the piano first; then try to recreate the sound at the piano. If you are truly "listening" for the sounds you hope to create, you're body will know what to do.
The second piece of advice: don't let anyone tell you that physical size or strength play a large role in a pianist's tone. My primary teacher growing up, Kim Craig, is very petite, but she can create a massive sound when she wants to. A big, full sound comes from your back, and she knew how to work it!
Best wishes -- and get that book!
- Greg (March 6, 2009)
Dear Greg,
Is it possible to become a concert pianist and not perform? I am just starting to play the piano and would like to play at the concert pianist level...just not with the audience, career, all that jazz. How long does this usually take and how many hours should I practice a day?? Thanks!!
- James
Dear James,
Of course! Who's going to stop you? I believe that music making can be incredibly personal and solitary at times; there's no need to always have an audience at hand. Go ahead, transform your home into your own private stage!
How much practice is necessary? I've been hearing this 10,000 hour rule touted a great deal in social circles (after an Malcolm Gladwell made it the subject of his recent book, "Outliers"), and I think there is something to it. The rule: to become truly fluent at a specialized skill, one must devote at least 10,000 hours of practice. I'm certain this also relates to piano playing.
That said, you can still have a great time playing piano music with less than 10,000 hours of practice under your belt!
- Greg (March 6, 2009)
Hey Greg! I was wondering how long it usually takes you to learn a piano concerto. I am working on my first Mozart piano concerto (in d minor) and I feel like I am moving at a painfully slow pace. I have been working on it for a week and have only made it through seven pages. I am nineteen and I've been playing for two years. Is this a reasonable pace? or am I fine and just very impatient?
- Elsie
Dear Elsie,
You've only been playing the piano for two years and you're already working on a Mozart concerto?! Chances are that you've bitten off more than you can chew. I wouldn't feel too bad about seven pages in seven days.
Every concerto is different; I couldn't possibly state how long it takes me to learn a concerto. Seriously -- it could take as short as a week and as long as a year, depending on the difficulty of the piece. When I'm in a hurry, sometimes I have to do it very fast, but I prefer taking my time so that I learn the music well and thoroughly.
- Greg (March 6, 2009)
Dear Greg,
You have answered a question as follows.. "don't go into music if you want to be a 'concert pianist.' Even if you've got mad skills, the chances of sustaining a career are next to impossible." despite the fact you then go on to state that there are lots of uses for pianists in the job market. Most people define the difference between a job and a career is a job is a way to make some extra cash, and a career is a steady paycheck to support oneself as guaranteed income. My question to you is, what is it you do to support yourself financially? I hear alot of artists do web design these days, unlike before the computer craze, many took office jobs, some worked in banks and a very lucky few took jobs in corporate, sometimes Wall Street gives a chance to someone without a degree in business. Strange enough, why is it so many artists dont teach music in public schools? Benefits, summers off and pension seem like a reasonable equation for a artist to work by day and practice by night while sharing their love of music with others. It seems to me this would be the career path one would go after making such an investment in attending Juilliard or any other music school.
- Matt
Dear Matt,
Wow. Let's not confuse my meaning. (Perhaps I've mistakenly been using the words "career" and "job" interchangeably!) In these answers, I frequently find myself encouraging questioners to consider a musical career that doesn't involve trotting the globe performing for large, enthusiastic audiences. Such a career is partly a product of extreme talent and partly a product of pure luck. My point is: when a pianist seeks the fame and glory of the concert stage, he or she is probably on a path to disappointment; when a pianist is motivated by the genuine love of music, he or she will certainly find a satisfying musical career. There are countless fulfilling ways to make money as a pianist not wholly limited to performing on the concert stage. (Please view the "Ask Greg Archives: Career" for examples.) Yes, teaching music is one, but there are many more possibilities.
"What is it you do to support yourself financially?" This is like one of those questions one of my distant relatives will ask after a concert. "So, that was great Greg, but how do you plan to make a living?!" The answer: I play the piano and compose.
Seriously.
I keep a busy concert schedule, both as a soloist and a duo pianist. My recordings are self-produced and selling well, so I actually make money when you buy one. Please buy one. I'm a YouTube partner, so YouTube pays me when you watch my videos on YouTube. Do it. Click on those ads next to the videos! :-) I receive commissions and royalties from the works I compose for The 5 Browns. Liz and I sell my piano duo scores to the public; you can buy them on the compositions page. That's most of it -- performing and composing! -- although I do give lectures here and there, I'll publish my book someday (someday!), and I have other surprising plans for the future in the works. At the moment, I don't pursue any financial gain through teaching, web design, video editing, or accompanying -- with everything that excites and consumes me, I simply don't have time.
Some people think I'm savvy, but I'm doing what feels obvious to me. I'm following my mission ("to make classical piano music a relevant and powerful force in society") in every avenue of my professional life, from my performances, compositions, concert programs, and recordings to my websites, videos, and book. My mission is ever present in what I do because I believe in it so passionately. It's not like the things I do are creative, random ideas; they are born from an innate necessity -- from a desire to make what I love relevant and powerful to others.
I'm not in it for the money, and it bothers me when people become preoccupied with this facet of the profession. Every time I check this website's Google stats, I see dozens of people finding the site through some variant of the following search: "How much money do concert pianists make?" I mean, really?! For real?! If you care about money, please don't become a pianist. You may or may not make a significant amount, but that's definitely not what it's about.
I really believe that if you are doing what you truly love, you'll find a way to survive. I'm not prancing about in piles of cash, but I manage to find enough doing what I do to pay my bills. I wish I had more (it would go right into recordings, videos, and websites!), but really, when it comes to money, my only concern is that I have enough to keep doing what I love.
- Greg (Jan. 14, 2009)
Hi Greg,
I am writing a novel in which a character is auditioning for Juilliard. She is a pianist. I have all the information on requirements, but I'm looking for specifics on what audition day is like...ie how is the panel, etc. I also need suggestions for the pieces she might play, particularly categories 3 and 5. If anyone can help me out, it would be much appreciated.
Thanks, Laura Covault
Dear Laura,
My perception of my Juilliard audition is likely very different from what actually happened. In reality, the jury is filled with nice, intelligent, and compassionate faculty members. (I'm serious, they really are.) From the piano bench, they appeared larger-than-life... terrifying... crotchety. In reality, the process is as fair as it could be -- there are multiple rounds (a tape round, preliminary round, final round, and a brief interview), and several faculty members are on every panel. It is incredibly time consuming and stressful for the faculty to sort through the hundreds of applicants, but they do a thorough job because they are genuinely searching for the most talented of the bunch. They do it with humility, however, because they've all been through it themselves; they are fully aware of the hopes and fears most applicants harbor. From my perspective, of course, things didn't feel so fair. "I didn't get to play the development of the first movement -- that was my best part!" "They asked me to start in the middle of the piece; I wasn't expecting that!" "I had to wait outside the jury room for 20 minutes; my fingers got cold!" "The interviewer asked me trick questions!" The call-back process draws the day out pretty long. It's terrifying enough to walk into a large room -- a piano on one side and a lineup of highly respected individuals on the other -- and prove yourself in a mere 10-15 minutes. But then you must wait several hours for the call-back list to be posted (terrifying! -- it's out of your hands at that point!), and if you're lucky (?!@#$%), you get to do it again later that evening.
I've written about my audition repertoire elsewhere on this site. I'll repost it here:
"As for your audition repertoire, play whatever it is you want to play (in other words, play pieces that reflect you as a musician), and when your audition rolls around, play well. That's all that matters. My undergrad audition program consisted of the following pieces: Bach's Prelude and Fugue in A minor from WTC I, Beethoven's "Waldstein" Sonata, Mendelssohn's Variations sérieuses, Liszt's Transcendental Etude No. 4 -- "Mazeppa", and Prokofiev's Third Piano Sonata. I'm not sure whether this was the greatest audition program, but I loved performing all of the pieces and I played them well."
I hope that helps you!
- Greg (Jan. 14, 2009)
Hey Greg,
My school has an athletic requirement which means I have to do two seasons of sports this year, but in the spring I'm doing an independant performing arts project. I'm so excited! I'm working on the Bach Concerto in F Minor S.1056. I wanted to do the entire concerto, but I may have to just do the first movement. Anyway, as far as accompianment goes, my teacher said I could either get a string quartet or another pianist. I would rather go with the strings, but I'm having a really hard time finding musicians for it. Should i settle with the piano accompianment? What do you think?
- Caitie
Dear Caitie,
Athletic requirements are a good thing! I'm all for Americans finding enjoyable ways to stay healthy!
You ask whether you should work with a piano accompanist or a string quartet. As a potential audience member, I would be more inclined to come to the concert if I saw you were playing with a string quartet. That said, if you can't find a string quartet, enjoy yourself with the piano accompaniment!
- Greg (Jan. 14, 2009)
Dear Greg,
I am a college student who has recently won a prelim to my state competition for the miss america program. I have been advised to change my piece from a "dark" comtemporary prelude...??? Do you have suggestions for a dramatic and impressive piece from which I can easily arrange a 90 second segment? I am a classically trained pianist with over 13 years of lessons and will be working with my teacher on the new selection. Any suggestions will be greatly appreciated--I am considering Lecuona's "Malaguena." However, I am not set on it or on that type of piece!
- C.T.
Dear C.T.,
Ummmmmmm. It's sounds like you need a very short but not horribly difficult encore piece. Off the top of my head: Liszt's First Transcendental Etude, Flight of the Bumblebee, Prokofiev's March from "The Love for Three Oranges."
Good luck with the pageant!
- Greg
Hi Greg,
I am a high school student who's been studying ARCT repertoire for 3-4 years now. I'm in an academically demanding program and I study hard. Nowadays I find that because of my studies I tend to practice piano less and less (AHHH!!). I only get to practice an hour a day at most- if I'm lucky. Last year, I entered a lot of competitions and played at nationals for one of them. Overall, I think I did relatively well (compared to the extremely limited number of practice hours I put in, that is). I love music, but I find that in the past I've been putting it aside just because I thought "what am I going to do in life with a music degree? Let's just be a doctor" haha. But I've just recently realized that I actually want to do what I really love to do. Do you think I should drop out of my academic program and devote myself fully to the piano? But what if I decide I want to go back..? Ahh :s
- Confused
Dear Confused,
Wow! These are intense questions!
I'm obviously of the mentality that one should base one's career on what he or she loves to do. What may surprise you is that I also believe one can love to do a great many things. Job satisfaction comes from how you chose to respond to situations at work, not the situations themselves. How did I get through high school without going crazy? I made the most of my assignments -- I turned them into projects that interested me. A simple report became a full magazine spread; an essay became a passionate opinion piece; a science project became a wild and engaging museum piece. I filled speeches with appropriate magic tricks, and I found ways to insert music into everything. I may have created more work for myself, but because I was invested in what I was doing, it felt like less.
The point is: you can probably turn anything you do into something you love. It all depends on your approach. I honestly believe that you can drop out of your academic program or you can stay registered, and in either case, you can find ways to be happy.
And what if you want to go back? If you are truly determined, you'll find a way to make anything happen.
Good luck and HAVE FUN!
- Greg (Dec. 30, 08)
Hello Greg!
I've taken piano lessons when I was about 9 years old, but quit due to lack of money in the family. Ever since, I have been playing for fun and composing my own music. I'm 17 years old right now, and for the past year I have been teaching myself to read music because I wanted to learn classical pieces. An orchestra director at my school overheard me play Liebestraum by Liszt and said I was very talented, especially for someone who's self-taught. She actually didn't believe I could read music that difficult in one year. I want to become a pianist, and I finally realized it. My parents aren't supportive of my decision, they would rather I go to university for med school. Anyway, I've been doubtful about considering being a pianist because I started so late. Regardless of my passion for piano, I look at all the great virtuso pianists, and they all started at such an early age and went to prestigious conservatories. I'm just a regular, self-taught, seventeen year old girl. I'm not expecting to become a concert-level pianist or anything, but I do want to do this for a living, and I will put every ounce of willingness, dedication, and passion I have. Any advice for me? I'd appreciate it.
- Irina
Dear Irina,
I'm impressed by your determination, but I can only give you the same advice I give to everyone. Whatever you do, please remember that no matter how good you are, the musical world is a fickle place. One can never truly predict his or her successes. As long as you choose to play the piano because you love it, you will be content with a musical career -- as a teacher, a concert director, a composer, an arranger, a critic, a writer, a concert pianist, an accompanist, a publisher, an entrepreneur, a conductor, or whatever else. If you choose to play the piano because you want to be a famous pianist or wealthy, you will very likely be disappointed with your choice.
Best wishes!
- Greg (Dec. 30, 08)
Hello Greg,
I have a little question here. Piano has been the dream of my life. When I was 13 yrs old, I took piano lessons and I was crazy about it. I practiced hours and hours everyday, my piano teacher said she rarely heard anyone played so well and made so much progress in little time. I dreamed to be a concert pianist, but got sometimes discouraged since I started late. Then I quitted piano completely only after a few months of piano lessons, since my school notes got down drastically (I never worked for school, I played piano all day long). My parents got worried over my exam results, so I stopped. Now I am 29 yrs old, married and have a boy of 2 yrs old. I need to play piano, something inside me says to me that I need this to make my life complete. So I bought a new piano recently and contacted a good piano teacher. I'm not dreaming to become a concert pianist, but I want to get serious this time and practice hard everyday. Do you think if I continue to practice consistantly, I will be able to play piano very very very well? I have not started the lessons yet, I will start in January 2009 since I am going away for Christmas to another country (I am married to a French doctor and live in France, so far away from my home, and I am going home for Christmas for 1 month). I have a great passion for classical music but never got the chance to have a deep musical education. If I start piano lessons in January 2009 and practice hard everyday, when do you think I will be able to play beautiful sonatas from Mozart or Chopin or the like? I dream of piano everyday, please answer me, I will appreciate that very much. Thank you.
- Anne
Dear Anne,
That wasn't a little question. ;-)
I can give you a little response though -- If you truly practice hard and efficiently every day, then you can learn anything, even as a 29-year-old. It may be a couple years before you are able to tackle the Mozart sonatas and several more before you get to Chopin's, but certainly, they are within reach.
Practice hard!
- Greg (Dec. 30, 08)
Greg!
Thank you first of all for your performance in Edmond, OK on Nov. 17! It was truly delightful. I was wondering what piece you might suggest to someone who has taken piano lessons since age 5 (and continued through the first two years of college), but has played on and off. I now teach piano to about 6 students and would like to keep my skills up. After seeing your performance last night with the Browns, I'm encouraged to throw myself back into classical music. I'm not sure what piece to start with. Any suggestions? I've played: Moonlight Sonata (Beethoven) and movement #2 of the same work, Doctor Gradus ad Parnassum (Debussy), a number of Bach inventions, a number of Minuets by Mozart. Thanks again and thank you for your musically brilliant arrangements. ~Adar
Dear Adar,
Thanks for the kind words! I had fun performing in Edmond!
I think your questions would best be answered by a personal teacher who knows your strengths and weaknesses. He or she could guide you to pieces that would help you improve quickly and efficiently.
To get you started, there are some great pieces by Chopin you could consider -- nocturnes, waltzes, mazurkas, etc. Also, try learning some Mozart sonatas (K. 331, first movement, maybe?) or pieces from Bartók's "Microcosmos."
Another thing you could consider: sightreading. Sightread everyday -- find pieces that are easy enough to sightread (if that means starting with "Beginner Piano Book A," that's okay!) and as the months go by, gradually work your way up to sightreading Mozart and Beethoven sonatas. The better you are at sightreading, the quicker you'll be able to learn the pieces you intend to study in depth.
Good luck, and HAVE FUN!
- Greg
Dear Greg,
Im currently starting on Chopin's Revolutionary etude How long would it take to fluently play the Revolutionary study? I just seriously got into tonight, and just want to know..Im an okay sightreader, and I learn pretty fast..I learned Beethoven's 1st mov. of the Appassionata in about a week! But this piece seems a bit more challenging-as in note wise. Currently the most challenging piece I can play is Rachmaninoff prelude op.3 no.2 Scriabin's etude no. 2 and 3 op.65, and Beethoven's full Appassionata. Oh, and by the way, what is the salary of a concert pianist ?For the past couple of years the piano has been my passion, and I thinking about becoming a concert pianist.What are the benefits of majoring in piano?Ive been playing for 8 years now(I'm currently 14).Can I do it on the side if I become a film scorer? John William's did that I think..
With all due respect, Kalen.
Dear Kalen,
Your questions don't have straightforward answers! It will take some pianists years to learn Chopin's Etude in C minor, Op. 10, No. 12; it will take others only a few weeks. There is no prescribed salary for a concert pianist; the total sum depends on the number of concerts performed and the size of the venues. Some pianists are impressively weathy; most are not.
Yes, you can play piano and be a film composer. All musical experiences are useful as a musician -- I've learned a great deal about playing the piano from composing (as well as from playing the violin!).
The benefits of "majoring" in piano vary from person to person. A degree in piano performance gives some people the time, focus, and education to hone their skills as a pianist. During my years at Juilliard, I not only became a better pianist, but I also learned about myself -- my strengths, my weaknesses, interests, and goals -- and this has served me immensely in my career.
Best wishes to you!!
- Greg
Dear Greg,
I own a yamaha P250 ditigal piano and its really nice. The only thing is I just don't get that "acoustic" feel. It sounds just like an acoustic, though I still don't get that feel..I occassionally go to Eastman school of music to use their pianos, but it uses a bit too much gas.. And I 'm only there like once a week for 2 hours. My parents currently cant afford an acoustic, especially since the American ecomony is down. Do you think after this ecomony thing I should ask my parents to begin to invest in a real one? Or do you think I should just stick with the P250 until I move out and buy my own? -Kalen
Dear Kalen,
It's not just the feel, but the *sound* of digital keyboards that will hinder your growth as a pianist. Digital keyboards are unable to recreate the natural blend of overtones heard on a real piano; furthermore, they lack the immense variety of tonal "colors" that a real piano can create. As a pianist, it is necessary to learn to control these colors and overtones in beautiful ways. Developing your skills on a digital keyboard will weaken your ear's ability to hear these differences and it will prevent you from truly learning to exploit the tonal possibilities of a piano.
That said, you probably should evaluate your priorities first. If your number one priority is to become a classical pianist, then you really should be training on an acoustic piano, preferably a grand piano. If playing the piano is just one of many things you enjoy in life, then perhaps you should stick with the keyboard. Keyboards certainly have many advantages (I use my Yamaha P80 quite often!): they stay in tune, they make less noise, they hook up to a computer, and they are more affordable. For an aspiring concert pianist, however, these advantages are small when compared to the feel and sound of a real piano.
- Greg
Greg!
I am a big Ravel fan and would like to say that I find your Ondine - as much as I can hear of it on this website - to be a very intelligent interpretation, the same goes for your considertions cocerning its sensuality, I read it in amazement and think it is about time somebody is as straight forward about it as you are. I am only through the first two pages of the piece myself, but am proud to have Jeux d'eau on my repertorie, I am certain you are familiar with the piece and not blind to the similarity between it and Ondine (Jeux d'eau is not exactly sensual, let's face it, but another genious way to make water become music) Your words about Ondine really helped me to understand the piece and I finally feel sufficiently armed to give it a try myself. Could you, shortly and in words, interpretate Jeux d'eau as well? What kind of question is that, you say. Well if nothing else, blame it on my rubbish english and pretty screwed up north european manners.
- Kristian
Dear Kristian,
Thank you! I'm happy you found inspiration in my essay about Ravel's "Ondine."
I had played Gaspard de la nuit for several years before I published the essay on the first movement, and I spent just as long tweaking my translation of the poetry and thinking about its meaning. I agree with you; I think it's too bad pianists and audiences often ignore the piece's blatant sexuality.
That said, I've dabbled with Ravel's Jeux d'eux, but I haven't given the piece the same amount of consideration I've given to some of Ravel's other works. I'd rather not try to impress you with dazzling but unsubstantiated insight (that's called "B.S.").
Instead, I challenge you to think about the piece really hard. Not sort of hard, but really hard, with 100% focus. Toss the piano aside and study the score. Work metaphors -- everything (including notes and musical passages) has the capacity to stand for something other than what is apparent. Create a narrative -- make it an opera! Be open to new ideas. Go deep -- the deeper you go, the more likely you'll discover something valuable. Read scholarly analyses and then forget about what the research says. Lack judgment. Rely on gut instinct. When you're done, think about it all over again from a completely new perspective.
Music can bear unbridled power. (A recent performance I heard of Tchaikovsky's Sixth Symphony sure did!). Don't stop at nice, or refined, or somewhat powerful. Make music mean something important, and then take it further.
- Greg (Nov. 3, 08)
Dear Greg,
what's the age limit for a concert pianist
Dear Anonymous,
There is no age limit for concert pianists! As long as you play well and are having a good time, who's to stop you?
- Greg
