Ask! Practicing

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Greg's previous answers are archived in the following categories:

Piano as a career | Compositions and Arrangements | Colleges | Competitions | CDs | Performing | Pianos | Practicing | Programming | Professional advice | Miscellaneous |

 

 

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)

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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)

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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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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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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)

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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)

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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)

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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)

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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)

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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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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)

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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)

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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

 

 

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! 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. Be open to new ideas. 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,

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'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 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,

When you sight read a piece or look at a piece, do you first break it down as to which key it is in and which modulation etc. etc...? How do you learn to do that fast? Do you know of any simple not-too-hard tango duo pieces? I would love to obtain a copy of your take on Piazzolla, but currently, it is not available, right?

- Olga

 

Dear Olga,

 

The more you sight read, the easier it will be. As a child, I would loan piles of music from the library - whatever interested me really - and play through it all at home. At Juilliard, I often checked out the maximum number of items from the library (45 items) because I was curious to read through music unfamiliar to me. 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. Gradually the process will become easier. For me, it is not a matter of analysis (keys, modulation, etc.) but recognizing visual patterns in the music (arpeggio figurations, chords, stylistic tendencies, etc.).

 

As for your other questions: I'm not familiar with any tango pieces for piano/four-hands, although I'm sure there must be something out there. Keep searching! And yes, my arrangement of Piazzolla's is not available yet.

 

- Greg

 

 

Dear Greg,

I am currently playing the Chopin Nocturne op 48 no1 in C minor. The music isn't too difficult until the crazy, passionate, difficult, fast return of the first theme. My hands are small and it's really hard to hit all the notes and voicing is extremely difficult because there are those big chords that support the music yet the melody is often times a single note (usually a higher, lighter note). How would you bring out the melody more? Without pounding away until your fingers hurt midway? What is your interpretation of the piece? Does it have to go really fast? I would like my music to be beautiful, not clashing to the ears. Thanks so much!

- Elaine

 

Dear Elaine,

 

By the looks of your question, you are well on your way to a masterful interpretation! All of your concerns and considerations are valid; it's that kind of thinking that will lead you to good technical skills.

 

Your teacher will be able to help you more than I could, but I will offer a quick suggestion. If you'd like to voice a chord to the right side of your hand, you should direct the weight of your arm (the weight from your upper arm and your lower arm) to that side of the hand. I find that my wrist adjusts to accommodate this by moving to the right as well. This way, I am able to use the natural weight of my body to produce a full, beautiful sound. It takes much more work (and the sound isn't nearly as nice) to play the piano by the strength of your fingers alone.

 

I confess that I really like the return of the theme to be exactly as you described it: crazy, passionate, and fast. Practice it so that you can play it effectively fast or slow; in other words, you should be able to play it any number of ways: slow and tormented, fast with direction, loud and grand, quiet but intense, etc. Then in performance (and here's the kicker), you should let yourself go - let yourself be carried away by the music. That section is all about the passion and intensity of the moment.

 

Have fun with such beautiful music!

 

- 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 my way 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

 

 

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

 

 

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,

Question now. Suggestion for how to play the devil's staircase? thank you

ariel yang

 

Dear ariel,

 

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 performers 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 ... except other Ligeti etudes.

 

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

 

 

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 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