Career Choices

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 Williams 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

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

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