Balancing a Professional Career

Hello Greg!,
You are such an inspiration for me! I've been playing piano since i was 8 and i am now 13 years old. Just a couple months back, I was thinking about my future, and I finally decided that I wanted to become a professional pianist. I know it would take a lot of dedication and time, but I have decided that once I get out of High School I am also going to be a Lawyer or Doctor, and I plan to make time for piano. I dont know how well that would go, because my mother does not approve of me becoming a professional, so she won't let me attend Julliard. So, do you have any advice to give me?..Do you think I would be able to become a professional after years more of training? I mean, I would like to perform, but not to big audiences and not at concerts...just at small things like Church, or weddings or such. I do not plan to travel the world and spread my piano playing. My teacher has told me that for the last two years i have been playing extraordinarily well! and he says that he is proud of me for that, but do you think with all my lawyer and doctor stuff that i'll still be able to become a professional? Once again, I dont want to be known worldwide or nationally..i just want to have the ability to play the most advanced piano pieces...thank you Greg! I hope you reply to this message!
 - Catherine

Dear Catherine,

Wow! You have big plans! ... a doctor, a lawyer, a musician! Good for you. The description you provided in your question sounds entirely reasonable. Unlike becoming a pianist, becoming a doctor or a lawyer does not require decades and decades of training. In other words, you can start training to be a doctor when you're 30, and you can still make a career out of it; it is highly improbable that someone could start playing the piano at age 30 and make concertizing their career.

I know dozens of medical and law students at Yale who majored in music before coming to Yale -- no pre-med degrees, no science degrees, no political science degrees before coming -- just music degrees. The medical school at Yale is so supportive of music that they have a full symphony orchestra; they had over 200 medical students and residents audition for the orchestra last year!

Practice hard and have fun. There is no need to stress out; with your goals, you should be able to do it all.

 - Greg (Oct. 25, 2009)

Juilliard Acceptance

Hi Greg!
I am fifteen years old and I deeply want to study piano performance along with composition and theory at a university level by the time I am finished with my high school career. I understand that every school is different in its standards, but I can't help but ask: How tough is a Julliard audition and gaining acceptance? I ask because you've been a massive inspiration to me and my "quest" in studying at a university level.
 - Chad Aboukaram

Hi Chad,

Ummmmmm..... I'm not sure how to answer that question. :-) "How tough is a Juilliard audition and gaining acceptance?" The answer is very subjective; for some people it's a piece of cake, for others it's more akin to eating a bed of nails.

The acceptance rate for the school is somewhere close to 10%; the acceptance rate for the piano department is lower, closer to 5%. This is what I've heard, though I don't have the evidence to back up those figures.

Thank you for your nice words, and I wish you the very best!

 - Greg (Oct. 25, 2009)

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

Nokia

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

Dear Rafael,

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

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

• Khachaturian's Sabre Dance for piano/four-hands
• Bach's "Erbarme Dich" from St. Matthew Passion for two pianos
• Saint-Saëns' The Swan for two pianos
• The Cuckoo in Sussex by Daquin/Anderson for two pianos
• Schubert's "The Crow" from Winterreisse for two pianos
• The Cat's Fugue for two pianos

There are a number of other adaptations for two pianos, four-hands, six-hands, and five pianos temporarily under exclusivity clauses. Follow us on Facebook or sign up for the mailing list for updates regarding these pieces.

- 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

Nerves

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

Dear Juvena,

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

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

Most important of all, remember to enjoy the music!

- Greg

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

Build a Foundation

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 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