Enough Practice?

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 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)

Advancement speeds; teachers

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)

Concert Pianist In Private

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)

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

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

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