Digital or Acoustic?

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

Tackling Bach's Repertoire

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

Going Solo

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

Practicing Routine

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

Bored

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 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

Sight Reading

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

Memorization

Hi Greg!
I always enjoy your website and appreciate the support you give to young musicians. I have one question--how do you memorize music on a deadline? I'm looking for a fast but reliable method of memorization.
 - Katie

Dear Katie,

Oh, memory! I hate memorizing music! You'll hear a lot of pianists speak about how they play better without music; and then you'll hear them say that all pianists play better from memory -- that a pianist only really knows a piece once it's memorized. I think this is a load of baloney. It is incredibly close-minded too.

Everybody learns differently. Some people have to write things down, others need to see it, and others need to hear it. Some people rely on rote memory, photographic memory, analytical memory, or aural memory. I remember dutifully taking notes during school classes for years; I thought that was the best way to learn. The trouble was: I couldn't concentrate both on spelling words and listening to the teacher. It wasn't until my third year of college that I realized I learned better -- and retained information better -- if I simply listened to the teacher. No notes at all!

With that distinction in mind, I believe many pianists could perform better with the music in front of them, but they have been lead to believe that they are inferior unless they memorize the score. As a visual person, when I can see the curves and shapes of the counterpoint in a Bach fugue, I play very differently. Unfortunately, I usually just bend to conventions and play from memory anyway.

The memory techniques that I use may not work for you; nevertheless, here goes:

• I memorize just a section of music at a time.
• I learn and memorize everything hands separately.
• I have many, many, many "memory points" -- points in the score that I can jump to at any moment. I rarely find myself actually jumping to a memory point; instead, I use them as stability pillars -- they are like buoys keeping me afloat.

Good luck finding what works for you!

- Greg (Oct. 25, 2009)

Developing Your Ear

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

Chopin Nocturne

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