Pianism

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)

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

Top Schools

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

Backup plans and Audition Repertoire

Dear Greg,
First off, thank you for what you are doing with your talent. We need to break the Victorian paradigms! On to my question: I have just turned 16 and am thinking about colleges. I would love to attend a conservatory, but am worried that it will be all piano all the time and if down the road piano doesn't work out for me, I will have nothing to fall back on. I also have the question of repertoire choices, specifically the Classical sonata. Is the Appassionata too cliched? I absolutely love the piece and think I could give a very good performance of it, but I am worried that it is so well known that everybody has a definitive idea of how it should be played, and if I play it differently, they will not like it. What did you play for your audition to Juiliard? What about other people? I know a Prelude and Fugue, Chopin's first Ballade, and his Etude Op. 25 No. 12. For a modern piece, I think I will do the Bartok sonata. Do you have any ideas on these? Any help would be much appreciated. Thank you!!!
 - Jon B.

Dear Jon,

When it comes to careers, I really can't tell you what to do! One of the many great things about life is that you can often change your mind. So often we feel like we are locked in, but really, we have the ability to start fresh whenever we want. I've seen a number of inspiring forty-year-olds go back to school to pursue a different avenue in life; a friend of mine did her undergrad and master's degrees at Juilliard and now she's in dental school; Aspen Music Festival accepts adult piano students. You're in control.

You also have the power to make your college experience amazing, no matter what school you attend. Alternatively, you can find ways to waste your time at any of the most renowned institutions in America. If you want a well-rounded education, you can get that, whether you're at Juilliard or New York University. Too often I see people complaining rather than using their energy in positive and useful ways.

One word of caution: don't go into music if you want to be a "concert pianist." Even if you've got mad skills, the chances of sustaining a career are next to impossible. Instead, go to college with the dream of playing the piano for the rest of your life! There are loads of uses for pianists in the job market, and if you really love playing the piano and making music, then these can be extraordinarily fulfilling jobs. Who knows, you could become really famous and play solo recitals in Carnegie Hall or you could become an influential piano teacher; in either case, you'll be a satisfied musician. As long as your happiness doesn't rely on fame, there are loads of musically satisfying jobs you could pursue as a pianist.

As for your audition repertoire, play whatever it is you want to play (in other words, play pieces that reflect you as a musician), and when your audition rolls around, play well. That's all that matters. My undergrad audition program consisted of the following pieces: Bach's Prelude and Fugue in A minor from WTC I, Beethoven's "Waldstein" Sonata, Mendelssohn's Variations sérieuses, Liszt's Transcendental Etude No. 4 -- "Mazeppa", and Prokofiev's Third Piano Sonata. I'm not sure whether this was the greatest audition program, but I loved performing all of the pieces and I played them well.

Best wishes to you as you prepare for your auditions!

- Greg

Solo Recital Programming

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

"Big" Pieces for Audition Repertoire

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 ofDanse 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 

Considering a Career Shift

Dear Greg,
I am 20 and a pre-medical student at a State University. Yet, I am unhappy because I wish to pursue music. I guess you can call it the "Berlioz Syndrome". Majoring in Piano or Music is bad because the State University that I attend does not have any good piano professors. I am wondering - do I continue to do pre-med and be the normal person with a good salary or do I go do something that I am passionate about even when I am old? What if I have a small repertoire that includes mostly Bach, Mozart, Beethoven and Chopin? Do you think that music is only pursuable for those who study it professionally at the age of 15 or younger and for those who win competitions in high school and college? I really dislike competitions, and I didn't compete at all in my younger years. I've asked this question (making music my life) to my piano teacher (who is very good-she is a moscow conservatory grad) and she told me that I certainly have the musicality and the emotions and some of the techniques down. I just need to practice practice and practice. Any advice?
 - Anonymous

Dear Anonymous,

I certainly do not want to be responsible for a decision that you regret later in life, but I will cautiously offer a few random thoughts on the subject:

• Remember that choosing one path doesn't necessarily exclude the other; the decision isn't an "either/or" decision. You can still play the piano if you pursue another careers. "Amateur" can be defined as a "lover of" something; quite a noble pursuit, if you ask me!
• There are plenty of career paths for a pianist in today's world (teacher, accompanist, writer, composer, music series director, educational outreach performer, "music as medicine" researcher, etc.), all of which require loads of dedication and passion.
• It takes an unimaginable amount of skill, determination, and luck to succeed as a concert pianist, and it's not everything it's cracked up to be. Skill: the bulk of a pianist's skill is developed while they are young; it get's harder and harder to learn new music as one grows older. Determination: Some would say I don't have a life (I "work" 16 hours a day), but I'm having a ball; although I become obsessive when I'm doing something I love, it's also when I feel the most alive. Luck: self explanatory.
• I went into my career with the knowledge that I may not come out with much, but I knew that as long as I had the music, I would be happy. (Cheesy, but true.) I'm not nearly as career-oriented as I probably should be, but my perspective goes beyond that of becoming a notable pianist. (Yes, many would argue that I have an extensive, self-promoting website, but if you'll look around, you'll notice that every page was built with very real intentions to fulfill my mission - to demonstrate that classical piano music can serve as a powerful and relevant force in society.) I'm not terribly daunted by what the future may throw my way, because my priorities are substantial enough to ride the waves. Humanity, artistry, and the divine will be present no matter what happens. Virtually everything I do is fueled by my mission.

Good luck and best wishes!

- Greg

College Audition Repertoire

Dear Greg,
I'm researching colleges with outstanding music programs and music conservatories for my Gifted Education program, and part of it is comparing all the different requirements of the school as far as auditions for piano go. I was wondering, what did you play for your auditions?
 - Caitie

Dear Caitie,

Juilliard and Yale's audition requirements are listed on their websites. Some of them are pretty complicated, so I'd rather not take the time to list them here.

I've auditioned for college degrees at three points in my life (for my Bachelor's degree, my Master's degree, and my Doctorate degree), and my audition programs were different in all occasions. Developing balanced programs that meet all the requirements can be downright difficult, but whatever you do, play what you love, and play it well!

Good luck with your project!

- Greg

The Juilliard Experience

Dear Greg,
I'm an undergraduate piano performance student at the University of Toronto and also have taken lessons with Jacob Lateiner in New York. I wanted to study at Juilliard for my undergrad degree but this did not work out, as such I am planning to apply again once I finish my B.M. and artist diploma here. My previous teacher graduated from Juilliard (studied with Mr. Lateiner herself) and always told me it was impossible for me to get there. That may in fact be true, but I'm still going to try. I am just wondering - who was/were your teacher(s) and what were a the key concepts/lessons you learned from them? What was their teaching style? Of course, graduating with an M.M. from there is an incredible accomplishment, and you do play brilliantly, but how did you get to perform the way you do now? Did you enjoy your years at Juilliard?
With Respect, Jarred D.

Dear Jarred,

The six years I spent at Juilliard (B.M. and M.M.) were amazing, constructive, and productive. The energy within the Juilliard walls is phenomenal... absolutely inspiring. My colleagues were genuinely supportive and friendly, my teachers showed utmost concern for my personal well-being and musicianship, and the administration worked hard to push my peers and me beyond our comfort zones and into the real world. The school also supplied me with incredible performance opportunities.

I'm not sure where some of the untrue myths originated, but contrary to some popular beliefs, Juilliard is not a factory for automatons. There are no razor blades between the keys. Students and faculty members are not viciously competitive. The school does not value accuracy and virtuosity over musicianship. For an example of the contrary, check out the program notes to this concert that my piano class put together of our own accord.

Sometimes I wonder if people were so unfortunate as to listen to a performance by one of the few unmusical beasts who got lucky during their Juilliard audition... and then the listener made judgments about the entire school. Sometimes I wonder if people who didn't get into Juilliard spread fallacies about the school to ease their pain. Sometimes I wonder if a few Juilliard students found themselves intimidated by their surroundings, and blamed the experience on the school rather than on the source of the problem -- on themselves.

For the most part, I found Juilliard to be a happy and energetic place. I was constantly inspired by the performances of my peers. In a lonely practice room, Orion Weiss gave the most incredible performance of a Mozart sonata I have ever heard; Mozart's music has never sounded the same since. Melody Brown made me tear up while playing the music of Henry Cowell, and Elizabeth Joy Roe made my hair stand on end while running through the Barber Piano Concerto in studio class. My class of freshmen dancers (I was a T.A. for their music theory class) showed me just how exciting Gregorian chant can be; their innocent wonder couldn't have been more beautiful. And I had no idea that a simple twist of one's breath could make me writhe in my seat as it did during a fourth-year drama production. My Juilliard experience was amazing!

I apologize for my long-winded diatribe which was, for the most part, unprovoked. Too often, I find myself rolling my eyes when a musician says, "Oohhhhh... you went to Juilliard..." with a certain implication of disapproval. Your question didn't suggest any of that, but it brought up the issue, which I was clearly happy to write about. To be succinct, I loved my Juilliard experience. :-)

My primary teacher at the school was Julian Martin. I have no trouble singing praises of the man, but it would probably take me too long to fully express myself. In short: he is one of the most articulate musicians I have ever encountered. He can describe exactly how music works; although his demonstrations at the piano can be equally inspiring, what amazes me more is his ability to find the right words to describe his intentions. A few carefully chosen words, and *bingo*, you've just plunged deeper into the music than a few hours of practice could have afforded you.

I would hesitate to list key concepts/lessons that I learned from Julian Martin. I studied with him for six years, often for more than a mere hour a week, and I believe that any simplification of his ideas would be unfair to him. He is as inspiring teaching Bach as he is Rachmaninoff, and the sheer volume of ideas, concepts, principles, and information I learned over my six years could fill several books.

Thank you for your interest, and I wish you the best as you prepare to audition again!

- Greg

Juilliard Connections

Hi Greg,
I read your response about your Juilliard audition and saw your repertoire at the end. Wow - my repertoire is EXACTLY the same!! I am a senior in high school auditioning, and I was wondering what connections (if any?) you had to the faculty before your audition - masterclasses, lessons, etc. Thank you!!!!
 - Mariam

Hi Mariam,

Wow -- what a coincidence that our audition repertoire was exactly the same!
I didn't have any connections when I applied to Juilliard. The closest thing to a connection: I attended Bowdoin Summer Music Festival during my sophomore year of high school -- while I was there, I watched Veda Kaplinsky teach a masterclass. I can definitely attest that Juilliard admits students based on ability, not connections.

 - Greg (Oct. 24, 2009)