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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)

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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:

 

Aiko Onishi's "Pianism"

 

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)

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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)

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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:"

 

Aiko Onishi's "Pianism"

 

I heartily recommend both books!

 

- Greg (Oct. 25, 2009)

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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:

 

 

Good luck finding what works for you!

 

- Greg (Oct. 25, 2009)

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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)

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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

 

 

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)

 

 

Greg - (I'm a HUGE fan btw) - have you ever gotten tendonitis from practicing too much? A couple years back i did the foolish thing of not taking breaks while practicing and really screwed my right arm up. Now when i practice my right arm seems to have 1/3 - 1/2 of the endurance of my left arm, and i find myself resting it alot. i am genuinely concerned. My technique itself is fine but do i still have a chance in becoming a concert pianist? I love to play and don't want to give up.

- Rach

 

Dear Rach,

 

Can I call you Rachmaninoff?? j/k

 

I don't have much personal experience to offer you; I've been really, really lucky that I've never had any problems. My teachers worked for years (and years and years) helping me develop a technique that fosters relaxed muscles and avoids pinched nerves.

 

I've seen a number of pianists come back from the gates of hell to pursue very successful careers as pianists. Some teachers are very good at helping injured students recover. A few words of advice:

Best wishes to a speedy recovery!

 

- Greg

 

 

Dear Greg,

hello. i'm studying the devil' staircase of Ligeti. Could you bring me some help. how can i do to work the kind of music? thanks a lot!

- Cyril Cuvier (France)

 

Dear Cyril,

 

Help? Hehe.

 

How to play Ligeti's Etude No. 13, "The Devil's Staircase" in three words:

 

Practice, practice, practice.

 

Then, practice some more. Then some more. And then: ....practice some more.

 

The piece tests a performer's determination and ability to focus. There are other pieces that are technically harder to play, but I've encountered nothing as mentally demanding as this piece ... other than other etudes by Ligeti.

 

A quick tip: I originally learned the piece by counting 8th notes. Later, I began listening to the various groupings of 8th notes (5, 6, 7, 9, etc.), and now I listen for the bigger picture.

 

Good luck!

 

- Greg

 

 

Hi Greg,

I'm presently working on my ARCT...I'm 46....have a B.MUS. and B.ED (from University of Victoria).... I teach general music and band in the school system full time. I'm also a pro french horn player with Symphony New Brunswick, have 15 private piano students and am a mother to 3 amazing children ages 16, 11 and 8. Could you give me some tips on things I really need to study and know thorougly I've read quit a few books on piano pedagogy....any specific recommendations on reading material? thanks for any insight you can give me. For my ARCT....I'm doing the teacher's part in June and the playing part in August. I travel 90 min 2X a month for piano lessons

- Cynthia Munn

 

Dear Cynthia,

 

Gosh. Cynthia, I have no idea what you should or shouldn't know, and I've never read any books on piano pedagogy.

 

My only bit of advice: don't lose sight of music's purpose.

 

Why do you play piano? Why do you think your students should play piano?

 

Here's my personal answer:

 

Music brings me great joy. It connects me to the world. For me, music serves as a portal to possibility, to an aesthetic environment that fosters human connection. For me, music is the means to the beauty, the spiritual essence, and the humanity that overwhelm this world.

 

Music makes life worth living.

 

I hope that you and your students play the piano for similar reasons!

 

- Greg

 

 

Hi Greg,

I wasn't familiar with the Waldstein until I heard you play it last summer. I was quite taken with the piece and I decided to learn it. I have run into a difficulty in one passage and hope you might have some advice. In measures 464-473, there are a series of octave scales that are played almost at the speed of glissandos (glissandi?). My teacher said that when she played it, her teacher had her actually do a glissando with 1 and 5. There is a simplification listed in my copy that uses both hands for them when the other hand isn't busy with chords. What did you do and what do you recommend? Did you find a way to play each octave individually at the required speed, did you do glissandos, or did you use both hands to play them as scales? What would you suggest that I try? Thanks!

- Joe L

 

Dear Joe,

 

The infamous octave glissandi in Beethoven's Waldstein sonata! Woohoo! My hand is big enough that I was able to learn to play the passage as your teacher did, performing a glissando with my first and fifth fingers.

 

It took me weeks, a great deal of determination, and a ridiculous amount of pain before I really got the hang of it. I can offer you a few tips, but in the end, it simply takes work.

 

Good luck Joe!!

 

- Greg

 

 

Dear Greg,

Well I would first like to thank you for creating such a wonderful website. It looks like you've fulfilled your mission! And for sure, you are my new inspiration! So my question has to do with Mozart Sonata K 310 in a minor. I've been playing this piece for about over a year, I think. I've performed it a few times and will soon be playing this at another competition. I've received several adjudications on this, and people all seem to have different opinions! I'm especially confused about the beginning of the 1st movement. Some suggested that I pedal every quarter note, and my teacher and I decided to try it because I can bring out more of the tragic feeling that way.. but once I started doing that some adjudicators were VERY strongly against it. Could you offer me any advice on this? What do you think? Thanks!

- PianoGirl in Canada

 

Dear PianoGirl,

 

I am very humored by your question! I played the same piece during my first year at Juilliard and dealt with the exact same issues when I performed it in competitions. It seemed that no matter how I tried to play the opening, every adjudicator objected. Should the grace note come before or on the beat? Should you pedal the eighths, half-pedal the eighths, not pedal them, connect them with your fingers, keep them dry? How loud should they be? Are they noisy, almost ugly, like a janissary band? Full of passion and drama? Should they be respectable and restrained, as if "you were playing on a fortepiano?"

 

Later, my teacher explained to me that "the piece is bad for competitions," because it's one of those divisive pieces with the tendency to incite strong opinions from professionals (sort of like Chopin's Barcarolle or Fourth Ballade). So I stopped playing it.

 

It wasn't until later that I realized how much competitions controlled my life in this manner. Nearly every decision regarding the repertoire I learned was made in deference to competitions and judges. Certain pieces, like the Mozart, were out due to their divisive nature. Other pieces were out because they weren't serious enough. Other pieces were too unfamiliar. Other pieces were too canonic (Appassionata, much?). Some pieces were dismissed because they didn't showcase enough (variety of emotions, technical challenges, etc.) in an appropriate span of time. Some pieces don't make a good impact on the audience (or judges) unless they are played in their entirety... and what if the judges didn't have time to listen to the whole piece? And I certainly couldn't play my own compositions...

 

In the end, you get the same old hackneyed, compact, virtuosic (but serious) competition pieces; pieces I didn't really feel like playing: Rachmaninoff's Second Sonata, Prokofiev's Seventh Sonata, and Ravel's La Valse.

 

Too much calculation. Too much strategy.

 

So I cut competitions out of my diet, and now I can play what I want, when I want. I can play a program of music composed entirely during the Classical era. I can play Chopin's Barcarolle. I can play Satie. I can mix children's pieces into my programs. I can play my own arrangements. I can construct my programs to make a statement about society. I can play music I like! Ultimately, this made me a better musician and a happier person.

 

Regarding the Mozart sonata: I went for dramatic effect. I never got the feeling that Mozart would have restrained himself... and a fortepiano can make a nasty racket when played in one of those old, reverberant European castles. Besides, I like playing the opening that way.

 

- Greg

 

 

Dear Greg,

I'm very confused. I just turned 11. I have been playing since I was 3 and studied under the Suzuki method with one teacher until I was 8. I had finished up the fourth volume. Most of the pieces in Volume 3 & 4 are Sonatinas by Clementi, Kuhlau, Mozart, and Beethoven. My teacher moved so my dad hired another teacher. My dad spends most of my practice time with me. I began to learn Beethoven's Sonata Op2 No1. I love this piece but it took me eight months to lean the first three movements. He has me working on Hanon, scales, Czerny Op599, for technique. I am also playing the Inventions and Sinfonias along with some romantic pieces from Denes Agay's book. My current teacher wants me to put the Beethoven Sonata aside and start learning all the Clementi Sonatas because he believes that physically I am not ready for these pieces. He also wants me to avoid playing Chopin for now which I really love listening to. My dad spoke with the former teacher of mine and he said that if you want to seriously compete in the major competitions, which I do, I have to start learning the Sonatas by Beethoven, Mozart and Chopin works like the Preludes and Etudes now. He disagrees with my current teacher because he believes that the teacher may not have the patience or knowledge of how to teach a younger student advanced pieces. My current teacher is very detailed and we spend vast amounts of time on Clementi alone and expects to spend two years on these pieces. I'll be 13 then. He believes that Clementi works are a precursor to Beethoven works. What concerns me is that when I see the bios on winners that win the major competitions most of them were playing concertos among other advanced pieces when they were 9. What are your thoughts about the direction I should proceed with?

- Celina

 

Dear Celina,

 

I responded to a similar question on this "Ask Greg" page, and I'm going to answer yours in the same manner: listen to your teacher. Your teacher, especially in this case, seems to know what he is doing.

 

You've certainly hit upon one of my pet peeves: students trying to tackle pieces beyond their skill level. It is dangerous physically, pianistically, and musically. If you rush through advanced repertoire, it is very likely that you will miss opportunities to explore your musicality or your personal approach to the piano. It is also likely that you will develop some bad, bad habits in your technique - habits that will follow and plague you for the rest of your life.

 

I remember being just as confused as you; I heard about the teenage prodigies who brought a new concerto in for their lessons every week, and I thought I had to do the same thing. Instead, my teacher taught me patience. She was extremely detailed in her approach to the music, and that sense for detail opened my ears to a new world of precision and craftsmanship at a very early age. It was invaluable training, in my opinion.

 

There is no hurry! My parents wanted nothing more than for their three sons to be "well-rounded," happy children, and I believe it made all the difference. I certainly wouldn't be the pianist I am today without having spent all that time outside building tree forts, participating in the science clubs, and visiting the public library on a weekly basis. I know plenty of young pianists who spend eight hours a day practicing, but I think it is completely unnecessary. There are SO many child prodigies out there, and although eight hours of daily practice may give you early fame and a host of compliments, it will do very little to provide any sort of career later on.

 

Build a firm foundation as a pianist now, and later you will be able to pursue anything you want. Truly elegant, insightful, and beautiful playing is so rare in people your age. Not that it really means anything, but in high school, I won competition after competition playing Mozart and Bach, not Rachmaninoff and Liszt like my competitors. (That is not a slam to Rachmaninoff and Liszt - I love their music - I truly do. It just shows that Mozart and Bach played well can be more impressive than more technically difficult music.) And the Clementi sonatas! Some of them are masterpieces! You shouldn't be complaining! How lucky you are to be able to play them at such an early age.

 

And now that I've already said more than enough, I feel I must take a moment to state my passionate thoughts on the matter of competitions. Be wary. Please don't turn competitions into your driving force, into your reason to be. Competitions can be so dangerous.

 

Competitions train audiences and pianists to listen critically. I found that after spending too long in the competition circuit, I lost my ability to listen and enjoy. When I was eight, I listened to a Mozart concerto for the first time and I nearly squealed with delight. It was bliss. After attending competition after competition, I found that I couldn't listen to a Mozart concerto without picking the pianist apart; I listened for what was wrong rather than what was right and beautiful. And even worse, I found myself continually making comparisons; "this is better than that!," "I liked his interpretation better than hers," etc.. Comparison is healthy to a certain extent, but it becomes detrimental when we lose the ability to listen with an open mind or the ability to simply enjoy what each person has to offer. (Please see the latest Anderson & Roe music video for a satire on the subject of critical listening!) I'm confident that I'm not the only music listener who has been jaded by the prevalence of competitions in our culture.

 

Not only do competitions transform the way we listen, but they influence the repertoire chosen by pianists for performance. Even if the competition repertoire is "free choice," only a select portion of the piano repertoire is appropriate. Schumann's Davidsbündlertänze is a great work but rarely programmed in competitions - it's too long and it isn't flashy enough. The music of Satie is completely inappropriate on a competition program - it's too simple and esoteric, and it can be very polarizing with the judges. Grieg's lyric pieces aren't serious enough, Handel isn't as good as Bach, too many transcriptions are bad, too many unknown pieces intimidate the judges, and Liszt's Hungarian Rhapsodies are deemed "cheap" music by some. And goodness, if your specialty is New Music and not music of the Classical era, too bad, because you won't satisfy the judges desire to select a well-rounded pianist. And goodness, if you like to compose yourself, don't try to program your own compositions in competition programs.

 

Then, there is the whole element of winners and losers. In most major competitions I've seen, amazing pianists (truly amazing) are cut in the first round. It seems that creative and personal performers do not do well. They may win over some of the jury members, but they are bound to offend others. Competitions are kind to the consistent and predictable - very kind - $50,000 kind - lots of engagements and press kind. But interestingly enough, very few who win secure sturdy concert careers. Audiences don't return to hear these winners again, and concert presenters don't reengage them. Who won the last Queen Elizabeth? the last Tchaikovsky? the last Leeds? I forgot.

 

I passionately believe that competitions have done significant damage to the world of classical music. It has transformed music from an art to a sport.

 

Instead of playing the piano to win competitions, I offer an alternative: play music to change the world, to discover yourself, to explore humanity, and to bring people together. Play music that is relevant to you and find ways to make it relevant to others.

 

Happy practicing!

 

- Greg

 

 

Dear Greg,

I have been playing for a few years, and it seems that my sight reading is considerably slow. What sorts of practice did you do in order to speed up the process of sight reading?

- Na Lee

 

Dear Na,

 

It was never a matter of "practice" for me, but it certainly is something I have developed over the years. As a child, I would check out piles of music from the library - whatever interested me really - and work through it all. At Juilliard, I often had the maximum number of items checked out of the library (45 items), because I was curious about the repertoire. The piano repertoire is like a giant treasure trove - there is so much good stuff out there, and the only way to become familiar with it is by listening or sight reading.

 

I'd recommend you start with what feels comfortable and go from there! Buy an "easy" classics book, or read through the Mozart sonatas, move on to the Chopin waltzes, etc. Whatever you do, have fun!

 

- Greg

 

 

Dear Greg,

I recently expressed to my piano teacher that I wanted to start playing more advanced music. She appreciates this and agreed to find some more level appropriate stuff. But the thing is, all she wants me to play is Bach! She explained how I have to understand and master the early preludes and whatnot to be able to bring out the themes in the harder pieces like fugues later on. But one thing about me as a pianist is that sometimes I just can't bring myself to play a piece if I dislike it or am BORED with it. The latter of which is exactly what the preludes and musettes do to me. So, do you have any suggestions on how to make them more interesting/fun or maybe some equally leveled pieces? Even though my teacher agreed to give me harder pieces, the music she's had me playing still seems too easy (i.e. Kuhlau and Clementi sonatinas, Kabalevsky's Toccatina). Thanks!

- Caitie

 

Dear Caitie,

 

I'm sorry Caitie, but I can't bring myself to disagree with your teacher! I've never heard you play and I'm unaware of the reasons your teacher has asked you to practice lots of Bach and easy material (and you may not be aware either!).

 

You can start by making sure she knows how you feel, but remember that you're paying her for a reason. Sometimes you have to follow your teacher's advice, even if it isn't what you want to do. Watch Karate Kid I for a powerful example of this in action.

 

Also, remember that Kuhlau and Cleminti sonatinas are not easy. There's no end to the detail, refinement, and control one can aim for in those pieces. And if you're really that bored, find a way to interest yourself. Turn the different voices in Bach's music into different characters. Is one a jester? a campy diva? a doleful mother? a loyal friend? How can you bring out their personalities in the way you play their musical lines? How do these different personalities interact in the musical counterpoint? Turn the sonatinas into miniature operas! Play as if you're playing at a funeral. a wedding! a political gathering! As I said in a previous question, play as if it is the last time you'll ever play the piano!

 

It's up to you to make sure you have a good time!

 

- Greg

 

 

Dear Greg,

I've been playing piano for about a year now and have advanced well. I can play Chopin and some of the more easy Liszt now, but I feel that there is something missing in my playing. I think maybe its my phrasing or rhythmic drive or dynamic stratification. I thought another one could be that my fingers were still not muscularly developed. Do you have any advice on how to rectify any of these problems? Should I do Hanon or something like that? It would really be appreciated, or better yet tell me how you got so phenomenal?

Mark A.C. Warner

 

Dear Mark,

 

Phrasing? Rhythmic drive? Dynamic stratification? I couldn't tell you what needed the most work from a simple message, but if you are aware that these may be problem areas for you, then you're likely right.

 

The most straightforward advice I could offer is the following: BE PRESENT. Be in the moment, be aware, be centered, be you. It's the only way to really listen and concentrate.

 

The second piece of advice is a bit more clever, but essentially the same thing: play as if it were the last time you were ever going to play the piano. It's similar to the concept of living every day as if it were your last. There's something to that notion of "no second chances" that leads people to do what I wrote above: value the moment.

 

Somehow, Hanon has never inspired me to "be present" in the same way Chopin has. I've never practiced scales or exercises and I don't regret it. Call me spoiled, but I'd rather enjoy myself at all times than work hard for no reason other than the the payoff later. That's how I stay motivated.

 

Happy practicing!

- Greg

 

 

Greg,

What is a typical practice routine for you? Not how long really but how do you like to practice? What approach do you take in learning a new piece?

LH

 

Dear LH,

 

All these questions about practicing and performing make me wonder if I ought to develop a fancy routine, just to impress you all.

 

You will be incredibly disappointed to learn that I usually just sit down at the piano and start playing. Someday, my body will give way, and it'll probably take a bit more time to warm up, but for now, I find that as long as my mind is clear, and as long as I'm not playing something with extremely fast finger work, and as long as I wasn't just outside in negative 30 degree weather, I'm fine.

 

I usually just play whatever I feel like practicing. Often times this happens to correspond with what I need to be practicing, say, for an upcoming concert (that "need" to practice leads me to "feel" like practicing). But even in such circumstances, I often find myself sight-reading different music to suit my moods.

 

As for learning a new piece, my approach depends on the music itself and the deadline I'm facing. If I'm in a hurry, I learn passage-at-a-time until I've got the whole piece in my fingers. If I've got time (the preferred method of doing things!), I learn the piece very slowly and very carefully. This aids memorization and appreciation of the music itself.

 

There is one thing I never do when learning a new piece: listen to a recording. Only when I'm ready to perform a work will I allow myself to hear another interpretation. I want the music to mean something unique to me, and I find that when I listen to recordings, I tend to fuse my personal experience with the music with another's.

 

- Greg

 

 

Greg,

Could you outline what is involved in preparing mentally and physically for a solo performance? Furthermore, as I am a shy person by nature, I suffer from nerves in performance situations. If you have and information or advice on ways to overcome this, it would be greatly appreciated. Thank you very much for your time and consideration.

Juvena

 

Dear Juvena,

 

You've asked a very tricky question to answer. Over the years, I've actually found that the less I think about nerves, memory, and pre-concert preparation, the better! I used to have a pre-concert routine worked out, but I found that it was just a waste of time and it made me more nervous. Instead, I now acknowledge my nerves, but I don't dwell on them. I try to stay focused and secluded, but I'm easy going and allow for "emergencies." I try to find time to warm up, but I don't get my undies in a bunch if I can't.

 

It really only takes a brief, concentrated moment and a couple deep breathes to center oneself. If you make a big deal out of it, chances are things won't go the way you planned and you'll walk onstage flustered and frustrated. I prefer to walk onstage without any expectations, but ready to seize the moment.

 

Most important of all, remember to enjoy the music!

 

- Greg

 

 

Greg,

I'm only 13 but feel the need to start thinking about college. And while at the moment I'm not a spectacular pianist, i love playing soooooo much. I think I want it to be my career. Do you have any suggestions for music schools (all i know of is Juilliard) and how do go about auditions when I'm a bit older? thanks.

- Caitie

 

Dear Caitie,

 

Thirteen-years-old. You still have plenty of time! Make sure you continue to pursue all the things you love for the next couple years. If you still decide to audition for music schools later on, just focus on your auditions and you should be fine. No matter what people may tell you ("take lessons with the teachers in advance," "go to pre-college music schools," "win lots of competitions"), all that really matters is that you play well in your audition.

 

There are plenty of good schools with music programs, some are a part of universities and others are music conservatories. Both have their advantages and disadvantages, depending on the person and their needs. A list of the top MUSIC schools in the US would likely include Oberlin, Yale, Eastman, Peabody, Colburn, Curtis, Juilliard, Manhattan, Mannes, Rice, USC, TCU, Indiana, Cleveland Institute of Music, New England Conservatory, San Francisco Conservatory, and Northwestern. There are other schools with great piano teachers, so don't feel obligated to limit yourself to that list!

 

Good luck, and remember to hold on to that love you have for the piano!

 

- Greg

 

 

Greg,

How can I get the score to your piano duo arrangement of Piazzolla's Libertango?
Multiple Questioners

 

Dear Libertango aficionados,

 

Thank you for your interest in my music! Unfortunately the Libertango arrangement is not for sale. Not only have we decided to make a couple of our arrangements exclusive for a while (I know, how nasty of us!), but we are dealing with messy hand-written scores and a multitude of legal issues. The day I settle the copyright issues and put the score into the computer, I will post the news on my website and email the mailing list. I hope that day won't be too far into the future!

 

However, in the meantime, there are a number of other scores available for purchase. Visit the compositions page for more information. For those of you looking for wild four-hand/one-piano music, consider the Sabre Dance arrangement. Additionally, you will be able to hear several of my compositions on the upcoming Anderson & Roe Piano Duo CD, to be released later this fall, including "Erbarme Dich," "The Cat's Fugue," "The Cuckoo in Sussex," and "The Swan," all available for sale.

 

- Greg

 

 

Hey Greg!
I am a 32 yr. old with a schedule that's near impossible to throw in professional lessons or attend school. At least for the next year or so. I took one semester of piano in college but have always loved classical music. I just recently purchased a Yamaha digital piano. My practice time is usually 30 to 60 minutes, around 2 or 3 in the am 4x a week. Been like this for approx. 3 months now. I love the piano, and my goal is to be able to play pieces like Hungarian Rhapsody #2 by Liszt. But what advice can you give an adult in my position who's learning to play the piano on his own and can not get pro help?? What should I concentrate on? Any books or exercises you recommend? Thanks!
Will

 

Dear Will,

 

I can't pretend to offer you any useful advice; I have only taught a few students in my life, and I have the distinct feeling that I learned more from them than they learned from me. However, I firmly believe that with the kind of determination you have shown, your dream will become a reality. If you are enjoying yourself, it's easy to work hard. If you work hard, it's easy to improve. You're on the right track!

 

- Greg

 

 

Hi Greg!
I'm impressed! I want to know if its possible to get the sheet music of you piano variations on a theme by Nokia! thanks
Rafael

 

Dear Rafael,

 

Thank you for your interest! Unfortunately there are copyright issues for me to untangle before I could ever begin to think about publishing the score. Today's modern world makes it very difficult for classical composers to reference popular culture sources. Saint-Saëns' Carnival of the Animals, nearly all of Liszt's transcriptions, paraphrases, and reminiscences, and most of Mozart's variation sets would have been extremely difficult to compose in today's labyrinthian world of copyright law.

 

Someday, when I have an army of lawyers at my disposal, perhaps I can consider publishing my variations and Star Wars Fantasy. For now, the following adaptations composed by me are for sale:

 

The .pdf files are $10 each, payable through PayPal. Email your request to gnanderson@gmail.com and I will send you an invoice.

 

There are a number of other adaptations for two pianos, four-hands, six-hands, and five pianos temporarily under exclusivity clauses. Check andersonpiano.com often for updates regarding these pieces.

 

- Greg

 

 

Dear Greg,
I have heard many piano teachers talk about the order in which Bach's repertoire should be studied... I start with a summer teacher soon and I am looking at new repertoire. I have never played a prelude and fugue or a suite. Some people say you study Bach in the following order: Inventions, Sinfonia, Suites (French then English), The Well Tempered Clavier and Partitas. Some people say after playing inventions you should start on the WTC and then suites. Where does the Italian Concerto fit in? ... I think you have to look at the individual student and see what that student needs at that time. What do you think?
Trent

 

Dear Trent,

 

I am no piano teacher, nor do I pretend to be, but I definitely agree with your opinion on this matter. From my perspective, the inventions, partitas, and everything in between are beautiful works of art and are terribly difficult to play. I think it's a shame the inventions, sinfonia, and the Well-Tempered Clavier are universally treated as "teaching pieces;" they have developed a certain stigma as a result. Concert pianists tend to avoid all but the partitas, the concerto, and the Goldberg Variations in their concert programs, as if they won't be taken seriously were they to play an invention here and a prelude and fugue there. The work-around our society has developed for this problem? - to program all 15 sinfonia, all six French Suites, or the complete Well-Tempered Clavier in one sitting. Those encyclopedic Gods! They are so impressive! (Fans self.)

 

Do audiences really want to listen to all six French Suites in one go? One is so beautiful all by itself. A hundred years ago, pianists would even create a small suite of their own, compiling their favorite movements from different suites. Sometimes "simple" and "easy" can be bracing, beautiful, and bewitching.

 

Anyway - I say, play them in whatever order suits you. If you are so inclined to start the Goldberg Variations now, then go for it! You wouldn't necessarily need to perform the work for another decade or so, but that's beyond the point. The intrinsic motivation of practicing what you love does a lot more for a person than routine exercises ever will.

 

There's another side of me screaming: "bad advice, bad advice!" Yes, maybe you should listen to your teacher - he or she certainly has your best interests in mind. Just remember, all of Bach's works have different challenges; there is no need to attack and conquer one genre at a time.

 

- Greg

 

 

Dear Greg,
...Like yourself I have a profound love of music - pure and simple. ... Perhaps you could comment as to whether (in your professional opinion) - 1.5 to 2 hours of daily practice (all that I can possibly squeeze in) suffices to acquire sufficient technique in due time to play major piano repertoire. Thanks again for your time.
Best regards,

Devoted Practicer

 

Dear Devoted Practicer,

 

I apologize in advance; my answer is going to be very annoying. :-)

 

I have seen quite a number of pianists sail through Juilliard without putting in more than a couple hours of practice per week. I don’t know what they do during the day (academics, video games, friends, TV?), but come concert time, they walk on stage and play with unbelievable inspiration and accuracy.

 

There were also the pianists who would wake up every morning at the crack of dawn to snag the best practice rooms, and they would stay until the cleaning ladies kicked them out at closing time. To increase their concentration, these virtuosos would cover the windows and limit all social interaction to two 15-minute meals. It came as no surprise that they were also fantastic pianists.

 

Nobody is going to acquire the skills for Gaspard de la nuit over night; it takes years (upon years!) of experience before the act of playing the piano feels natural. Regardless (and the point is:), everyone has different practice room needs. Many people can handle the world’s most substantial repertoire on 1.5 – 2 hours of daily practice, but even more people would find this insufficient.

 

If you are already practicing as much as you have time for, why worry about it? Enjoy every minute that you spend at the piano. You may step back from it all in a few years and say, “Wow, just look at how I’ve improved!” It is VERY unlikely that 1.5 – 2 hours of daily practice would ever lead to the opposite.

 

Good luck!

 

- Greg

 

 

Dear Greg,
I am an older piano student currently working on my Grade 8 RCM piano level (busily preparing for my pending theory and piano practical exams) - in short, I have a passion for the piano and love to practice 1.2 to 2 hours per day. My practice routine consists of a half-hour of required technical elements (scales, chords, arpeggios, sight reading, ear training, ... etc.) with the remaining 1 to 1.5 hours practicing both new and learned repertoire. What are your thoughts on quality of practice versus quantity? What are your thoughts on practicing finger exercises (Hanon, Czerny, etc.) and studies? I personally believe that these finger exercises/studies eat up precious practice time and provide very little gain.

Many thanks,

Devoted Practicer

 

Dear Devoted Practicer,

 

I encourage you to examine the source of your passion for the piano. Ask yourself why you play the piano. to become a professional? ARCT goals? competing with someone else? to play that certain piece?

 

Many people seem to forget why they spend all that time at the piano. I know this sounds cheesy, but the reason I practice is because I love music. I'm serious! I am drawn to the piano every day by the beauty of music. Whether the music be easy or difficult, I love to take it apart, note by note, and hold it up to the light and say, "Wow! Isn't that amazing?!" I inspect everything under a microscope, marvel at its craftsmanship, and polish it well. Then I put it back together again and let it carry me away.

 

I have never been able to practice scales or exercises. They don't inspire me. Where's the beauty? A Chopin etude, sure, but not a Hanon exercise.

 

Over the years, my devotion to detail and beauty has worked for me. My technique improves naturally with each piece I play, and I have never tired of practicing. Could I have improved at a faster rate? Perhaps, but I enjoyed the path I followed.

 

- Greg

 

 

Dear Greg,
My teacher told me I need to play something "big" and she said either Liszt or Rachmaninoff. I've played the Rach Elegie but have never played Liszt. She said a Liszt etude maybe? I like the Rachmaninoff Etude in d and think it would be easier than a Liszt etude. What would be a good liszt or rachmaninoff piece. I'll be using this as part of my audition/senior recital program so it I agree it needs to be good!
Josh in MS

 

Dear Josh,

 

Oooooo. I really dislike programming for judges. (Of course, I understand your dilemma.) I can make recommendations, but remember that I've never heard you play and I don't have a sense of your strengths and weaknesses.

 

There are a couple Rachmaninoff etudes in D minor, but I assume you are thinking of the calmer one. If you like it, then you should play it! Otherwise, many of the Liszt etudes aren't as hard as they sound (and many of the Rachmaninoff etudes are harder than they sound!). The second Transcendental Etude (in A minor) is pretty straightforward, but it packs a punch (perhaps your best bet). "Wilde Jagd" is a little tougher but still manageable. "Waldesrauschen" and "Gnomenreigen" are both good choices. "Un Sospiro" and the fifth of the Paganini etudes aren't especially "big," but they are beautiful pieces of moderate difficulty. Outside of the etudes - Liszt's transcription of Danse macabre by Saint-Saens is very impressive and not too difficult. It may not be "serious" enough for an audition. There are a couple movements from the Annees de pelerinage that could be appropriate - the Sonettos, Au Bord d'une Source and, Les Jeux d'Eaux a la Villa d'Este.

 

As for Rachmaninoff, have you considered some of the Preludes from Op. 23? Or the Moments musicaux?

 

- Greg

 

 

Dear Greg,
What computer programs did you use to make your super-fabulous recital flyers? I have big ambitions for mine, but nothing ever turns out quite right.
Deficient in Design

 

Dear Deficient,

 

Glad to hear you liked the flyers! I always figure a concert flyer should reflect the concert. If I see a boring, un-invested concert flyer, I assume the concert is going to be the same! I try to avoid creating such an impression with my own.

 

My older brother designed the first and last "super-fabulous" flyers; I'm not sure how he made them, but I think he did a terrific job. I made the rest with a combination of Microsoft Word, Adobe Photoshop, a scanner, markers and pens, and a photocopier. I start with a very specific image in mind and do whatever it takes to get it on paper. ...usually I have to make compromises along the way. If you have trouble, remember that it's always possible find effective ways to transform "messy" into "artsy!"

 

If you like the flyers on andersonpiano.com, be sure to check out the other batch of them on andersonroe.net!

 

- Greg

 

 

Dear Greg,
I once heard you talk about how your dad soundproofed your practice room at home. I've just moved into a new apartment, and though the walls are thick and I don't have any wall-neighbors, the sound travels up the wall and bothers an at-home writer 4 floors above me. What should I do? I don't want to muffle the piano too much but instead would rather attempt to "sound-proof" the room. What do you think about foam? I am open to any and all suggestions.
Blisteringly Bombastic (not really) in Berlin

 

Dear Bombastic,

 

My dad's form of soundproofing was nothing more than mattresses hauled up from the basement and placed around the piano. It didn't really work and my family members remained frustrated by the bombast.

 

You could hire a professional acoustician. Soundproofing is a tricky job, so much so that people spend years in school studying the science behind it. They could offer you better advice than me! One thing I've seen repeatedly in soundproofed apartments: the piano is elevated off the main floor. Apparently, the main conduit for the sound to reach other apartments is the legs of the piano and the floor. With this in mind, you could try putting the piano on, like, three thick rugs.

 

I own an electronic keyboard (Yamaha P90). Really, it's not as bad as you might think! It's designed for classical pianists and it has several functions which are surprisingly handy (various Baroque-style tunings, recording capabilities, and several fine-tuning sound adjusters). I use the keyboard for composing (because it connects to my computer) and when I want to spares my neighbors from the bombast.

 

You're in a sticky situation. Flowers, chocolates, and baked goods may help diffuse the emotions with your neighbor!

 

- Greg

 

 

Greg, I'll be facing college auditions in about a year. I want to major in Piano Performance but I'm also thinking about Music History. What would be the perfect audition program? Most places around here require three contrasting pieces.
Josh in MS

 

Dear Josh,

 

You've asked an impossibly difficult question! There are a couple basic pieces of advice I can offer, but after that, things get tricky.

 

Okay. Now the tricky part. Do you play pieces that represent you or pieces that you're pretty sure the jury wants to hear?? In an ideal world, I would lay my heart right out on the table for the jury to pick apart ... but my honest choice of pieces would probably lead to a rejection letter! For example, if I had an audition tomorrow and was required to play three contrasting works, I would play a composition of my own, Earl Wild's transcription of Rachmaninoff's "On the Death of a Linnet," and my own transcription of Poulenc's "Nous avons fait la nuit" (I'd have to stay up all night long making the arrangement first!). I think that would be the perfect way for me to represent myself at this exact moment; it would certainly be a fast-path to the essence of "Greg."

 

Unfortunately, juries don't really work the same way I think audiences do! Most audition panels would be offended by my seemingly slight program - the short pieces, my own compositions(!), Itwo (count them: one, two) transcriptions, the sentimentality, the avoidance of anything pre-1900, my failure to showcase the extent of my technique, etc. Instead, I can tell you right now that the audition panels are going to want to hear you play a Beethoven Sonata and a substantial work by either Chopin, Schumann, or Brahms (or possibly Liszt or Mendelssohn). Juries seem to find that through these two categories, they can most easily asses a student's proficiency and musicianship. In the past, I have followed that formula to the best of my abilities and it has always worked for me. In your case, the third piece is flexible; it is less important, but it says more about who you are as a person. (It's usually safer to highlight your sophisticated side.) To contrast the Beethoven sonata and the Romantic work, I would recommend anything by Bach, Debussy, Ravel, Prokofiev, or Bartok, or a sophisticated work by a well-known modern composer.

 

(There are, of course, exceptions to the above; however, I believe it to be the most straightforward a safe way to go about building an audition program.)

 

A jury forms many assumptions about a student just by looking at his or her program. Try to find three pieces (preferably within the confines mentioned) that represent you, compliment and contrast one another, and create a striking and memorable impression. Then: play well!

 

Good luck!!

 

- Greg

 

 

Dear Greg,
Our four hands of fingers get tangled when playing the "Waltz of the Flowers" from the Nutcracker. Any suggestions??
Muddled in Mahtomedi :)

 

Dear Muddled,

 

That's the fun of four-hand playing - tangled fingers, limbs, feet, etc.! Liz and I routinely become weak from laughter during our rehearsals!

 

The element of physical navigation is unique to four hands at one piano, and it is helpful to isolate the issue and practice it separately. When you practice your parts individually, make sure you practice as if the other pianist is there. Drill things like "going over" or "under," "around" or "elbow in," so that you remember everything when you and your partner practice together.

 

That said, there are a couple tricks you may want to consider:

Four-hand playing it very similar to dancing - the hands and fingers are like a pair of dancers' feet - it can be just as beautiful to watch as it is to listen!

 

-Greg

 

 

Dear Greg,
My love life sucks. I haven't been on a date in over a year. I find the piano more interesting than any of the guys I've met lately. What should I do?
Desolate in Deutschland

 

Dear Desolate,

 

Good grief! I'm not a psychologist, nor do I pretend to be!

 

Regardless, I can offer you two bits of common sense. 1) Be authentic. If you'd rather interest yourself with the piano, no one's stopping you. If you'd rather be out on dates, get yourself out there. 2) The piano is there to enhance real life, not supplant it.

 

Now, if your some reason, you are intimating that pianists (myself included) are stuck in the practice room and have no love lives, I suggest you reconsider! "Us Weekly" could easily devote an entire issue to the torrid romantic records of the great pianists.

 

-Greg

 

 

Hello Greg,
I am a Senior Music Education student and was wondering if you had any ideas for a senior recital program design. I play the Alto Saxophone but I thought that maybe you'll have some different aspects to bring to it.
Thanks,
Jordan

 

Dear Jordan,

 

Gosh, I can't say I've given much thought to Alto Saxophone programs. The first programming idea that comes to mind is a group of pieces based on song, capitalizing on the lyrical nature of your instrument. You could create your own transcriptions (it's really easy - just play the vocal line). ...perhaps a Schubert song or two, Faure (Apres un reve), Rachmaninoff, even Bach. Then you could include a couple more recent songs - a jazz standard, and a sophisticated pop ballade. A friend of mine played transcriptions of Sigur Ros and Radiohead on his senior recital. Is it sacrilegious to transcribe classical songs for sax? I don't really think so. I think such a program it would highlight just how much today's pop music has in common with 18th and 19th century music.

 

I wouldn't recommend filling the whole program with song transcriptions - too much of a good thing! You could balance them with some virtuoso showpieces, or a meaty contemporary piece.

 

You should also toy with finding ways to add your friends to the recital. It's really difficult to program a solo recital that will hold an audience's attention from beginning to end. Continually changing the performing forces is an easy way to prevent monotony. It will also help bring in more audience members! A good rule of thumb is to increasingly add more people to the stage and end with the most, although sometimes the reverse can be surprisingly effective.

 

I wish you and your audience a wonderfully enjoyable program and performance!
-Greg

 

 

Dear Mr. Anderson,
Sometimes it's hard for me to memorize pieces. Am I just stupid or is it hard for everyone? I feel like killing myself when I have a memory slip. Please help me soon.
Sincerely,
Desperate in Denver

 

Dear Desperate,

 

Memory is something I've struggled with for as long as I can.....remember. Desperation and threats are certainly no way to solve the problem - in fact, the more you think about memory while you perform, the more slips are likely to happen. There are a couple tips I can offer:

Good luck!
- Greg

 

 

I'm curious to know what your opinions/thoughts are about the various brands of pianos you've played, which is your favorite, and why?
- Brian

 

Dear Brian,

 

You've asked a question that is surprisingly difficult to answer! Every instrument is different, let alone every brand. Every time I make a generalization about a maker, I find a piano that shatters my opinion. Usually Kawai pianos tend to be dull and weak, but once I played a concerto on a glorious Kawai with great projection and a beautiful tone. I love Steinway pianos, but I'm frequently forced to play Steinway pianos that are out-of-tune, out-of-shape, and unregulated - that's no fun.

 

By and large, Steinway makes the most satisfying instruments that I come across. They generally have the largest spectrum of tonal and color possibilities, the best dynamic range and projection, and the most consistent action. They also last forever. Mason & Hamlin, Boesendorfer, and Faziolli make terrific pianos as well. Yamaha pianos generally have a bright sound that is fantastic for some pieces and not for others.

 

Perhaps I'll update this response after I ponder it a bit more.
-Greg

 

 

Hey, Greg!
Not really a pianist. But I am planning on studying music. I'm a junior in high school and have played the trumpet for about 8 or so years. Right now I have my sights set on Duquesne University's music school for music technology. In the audition, you have to pass an aural musicianship exam. I'm told I have a good ear, but I just need to develop it. ...How exactly does one do that? What would you say is the best way? Any help would be greatly appreciated!
-Rachel

 

Dear Rachel,

 

The best way to develop your ear is to learn to identify and sing intervals - in fact, I'll bet that's exactly what they'll test you on. First practice with a friend. Have him or her play a scale at the piano and then play a note against the tonic pitch. Example: your friend plays a D major scale and then plays a "D" with the "A" above it. Your challenge would be to identify the interval (a fifth). Practice this until you can nail it every time. Then switch it around. Have you friend play a scale and ask you to sing an interval above the tonic pitch. Example: your friend plays a D minor scale and then plays the "D" and asks you to sing a minor third above that. Your challenge would be to sing an "F." Eventually you should be able to get rid of the reference scale beforehand and simply be able to identify and sing random intervals.

 

Best of luck in your audition!
-Greg

 

 

What was it like meeting Daniel Radcliffe? What was he like? What was Emma like? How long were you an intern for Goblet of Fire?
Harry Potter Fan

 

Dear Harry Potter Fan,

 

Are you really a piano student?? I've received many questions of this nature, and I'll remind you - I'd love to post the journals from my experience, but I'm under heavy confidentiality restrictions! Everyone was so nice to me during my stay at the Leavesden Studios - I'd rather not break their trust. Perhaps sometime soon I'll receive permission to post some of my journals from the experience. For now, I'll touch on these, but then I need to get back to practicing the piano!

 

- It was a surreal experience meeting Daniel Radcliffe - After seeing actors on huge, gigantic screens, it sometimes slips the mind that they are real people. Dan was so down-to-earth and friendly that it was hard for me to connect this person to the cinema. He seemed like he could have been my next-door neighbor! Actually, I think he's got to be one of the most intelligent, friendly, sincere, and unassuming 15-year-olds I will ever meet. Every time he saw me, on or off the sets, he'd make a point to say hello and give me a huge smile. On several occasions, he'd make his way over and we'd chat as if we'd known each other for years - I was completely amazed. Emma was exactly the same. They both were genuinely interested in everything BUT themselves - something pretty impressive, considering their position. While I'd be trying to talk with them about the movie, they'd be asking if I was having a good time, what I was up to, or how my flights went.

 

- I was in England for 10 days and I spent 5 days interning on the sets. I also saw Dan and Emma during the two MTV shows I did in New York and London.

 

-Greg