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I was looking at the requirements for Juilliard. Btw, I kindly ask you to not proceed discussing the Juilliard thread that I posted about a week ago and asked to have locked. Thank you!
2. One of the following: a. An entire sonata by Beethoven (excluding Opp. 14, 49, and 79), or b. One of the following Haydn sonatas: Hob. 20, 23, 32, 46, 49, 50, 52, or c. One of the following Mozart sonatas: K. 281, 284, 310, 332, 333, 457, 533, or 576, or d. One of the following Schubert sonatas: D. 568, 664, 784, 845, 850, 894, 958, 959, 960, or the Wanderer Fantasie, D. 760.
Out of all of these pieces, which do you recommend I play when I audition? Thank you for answering.
- Brooke Taylor
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How close are you to auditioning for them? (I guess we can't persuade you to look at it one step at a time, no matter how hard we try.....)
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Well, I cannot decide which pieces to work on. I am working on Revolutionary etude (Which, btw, I have the let hand part for the first four measures done at tempo!) and Haydn Sonata Hob 20 first movement. I'm not sure if this would be ideal for auditioning though. I'm also working on Ballade No.1. I can't decide what to play now!!
Mark, I appreciate your help. I just would love it if we could stay on topic? Please.. :+)
Last edited by Brooke Taylor; 08/07/10 06:26 PM.
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(I guess we can't persuade you to look at it one step at a time, no matter how hard we try.....) -- Remember I said, that I don't want to continue the discussion...
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....I just would love it if we could stay on topic? Please.. :+) Suppose we think the topic is that you're asking a wrong question? Which I'm pretty sure you are. And BTW I'm bringing the knowledge of not only music but also the other fields you alluded to in the other thread. I'm trying to help you. If other people see fit to answer on the level that you're asking, I hope it will be helpful, but I don't think it really will be. If you really want help, please think a little more about this other stuff.
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I was looking at the requirements for Juilliard. Btw, I kindly ask you to not proceed discussing the Juilliard thread that I posted about a week ago and asked to have locked. Thank you!
2. One of the following: a. An entire sonata by Beethoven (excluding Opp. 14, 49, and 79), or b. One of the following Haydn sonatas: Hob. 20, 23, 32, 46, 49, 50, 52, or c. One of the following Mozart sonatas: K. 281, 284, 310, 332, 333, 457, 533, or 576, or d. One of the following Schubert sonatas: D. 568, 664, 784, 845, 850, 894, 958, 959, 960, or the Wanderer Fantasie, D. 760.
Out of all of these pieces, which do you recommend I play when I audition? Thank you for answering.
- Brooke Taylor I think you should make a medley of all of them. That will certainly win them over.
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Mozart K 547 is a pretty fun piece.
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(I guess we can't persuade you to look at it one step at a time, no matter how hard we try.....)
There you go with that "we" stuff again. I'll have no part of your "buzz-kill"!
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Thanks, Mark. I just thought that I would get a jump start on these pieces. I started working on the Haydn Sonata Hob 20.
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Damon, I would appreciate if you would try to help, rather than be a nuisance. Thank you.
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It'd be helpful to hear you play so that we have something to base a recommendation on..
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Go for op106. That should be a piece of cake for you.
"The eyes can mislead, the smile can lie, but the shoes always tell the truth."
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The sarcastic stuff that some people are telling you is just a sarcastic version of what I'm trying to advise you nicely. But really it's all basically the same.
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Hey man so was I. If she can progress that quickly she should have no problem with 106.
"The eyes can mislead, the smile can lie, but the shoes always tell the truth."
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Go for op106. That should be a piece of cake for you. Op 106 would be nice, but only if it was Hammerklavier - Godowsky. For the left hand alone.
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On a serious note, if you are really Juiliard (or top conservatories) material, you would have learned and performed a sizeable collection of piano sonatas from various composers. You would then consult your teacher and choose one that you play best for audition.
Singapore based private teacher specialising in accelerated ABRSM course. Author of Visual Guides to Scales and Arpeggios. Visit my website at www.wunadymusicstudio.com
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Why not start studying them all now? Then pick which ever is better closer to the time of your planned application and once you've had several cycles of study through them all. Then I'm sure clear leaders will emerge from the pack.
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I'm sorry, but this is a ridiculous topic. Do you have any idea what you're asking? You're asking us to choose a sonata from a list of 52, all of which range wildly in difficulty, when we have no idea about how well you can play. On top of that, you're asking us to select for you what is essentially you're first full sonata after playing for only twelve weeks, and you intend for this sonata to be part of your audition repertoire for Juilliard in 4+ years.
This is just too much. It is literally an unanswerable, and ultimately pointless, question.
Last edited by Butters109; 08/07/10 07:23 PM.
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Butters109, I appreciate you answering me, however, I intend on auditioning in 10+ years. Not four. I think I might have a video for you guys, btw.
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I didn't discover my talent until about thirteen weeks ago, CWPiano. Would you like me to go back in my handy time machine and start from when I was three? -- Come on.
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Why make this topic then if you're auditioning in 10 years? There's no point in worrying about audition repertoire that absurdly far in advance. There's no point in even thinking about it really.
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.....Would you like me to go back in my handy time machine and start from when I was three? -- Come on. No, but we're trying to help you be more relevant in how you look at things. A lot of people devoted quite a bit of time and thought to helping you out on the other thread, and you shared some important personal things that are probably involved -- and then we gave you more feedback with that in mind. Did it all fall on deaf ears?
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I am tired of the people that keep bringing up that "I should have started when I was three." or "If you are Juilliard material you would have done [this or that]," I cannot do anything about it! I just started about thirteen weeks ago. Just hold on to your horses until Tuesday. I will have a video for you then. Ok?
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I'm trying to get a head start on my repertoire.
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Op. 106 is Beethoven, Brooke, it's Beethoven.
The sonata is also known as the Hammerklavier. My son's teacher jokes that no one under the age of 30 should be permitted to learn it because they have too little life experience to understand what Beethoven was trying to say in it.
edit: it seems you deleted a post.
Last edited by Piano*Dad; 08/07/10 07:57 PM. Reason: responding to a deleted post
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Yeah, I looked it up, and found out it was from the Hammerklavier. Hmm. I'm still trying to decide what to play.
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It's great to have goals, and I'm not going to attempt at shooting down your aspirations to attend Juilliard, but I think your focus is all wrong. To me, it seems that you're just constantly thinking about "What do I have to do if I want to get into Juilliard". This is a very toxic mentality to have, especially when just starting out on an instrument. It would serve you well to put that goal out of your mind and just focus, honestly focus, on the music that you're playing. Be honest with yourself, you will find things that are too difficult for you to play, and thats perfectly fine. If you're so focused on tackling these virtuoso pieces required to audition at a school like Juilliard from the beginning, you will have no foundation to build off of. Start small, and build up. If you can really tackled pieces as quickly as you claim, i.e. playing the raindrop prelude after only a few weeks of study, it will serve you well to continue to play pieces around that level. Not only will you build up a sizeable repertoire that will serve you later in life at your auditions, but you will develop a solid technique. If you're constantly giving yourself these gigantic challenges, (Raindrop prelude to revolutionary to ballade no 1, each of these pieces is over three times as hard as the previous in my opinion), you'll ultimately progress more slowly in the end then if you took your time. I don't care if you're the next Franz Liszt, bounding across the standard repertoire like you have something to prove, or if you feel like you have to make up for lost time, will only hurt you in the long run.
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Hey, thank you for helping me out! I really appreciate it. What pieces are like Raindrop prelude, that you recommend?
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I deleted it, because I found out who the composer was.
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Brooke,
Are you working on any exercises for finger dexterity? Or does your teacher not think they are essential to developing good technique?
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Yeah, we are working on "Piano Adventures book 1: Technique and Artistry."
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Chopin: op 9 no 2, op 55 no 1 Debussy: Girl With the Flaxen Hair, Clair De Lune
None of these are easy, but if you can really play the raindrop, they should be accessible.
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Brooke, I wrote in earlier as someone having experience with a family member who had a late start at your age, and who got into a top university in music, beating out others with three times the experience. Talent is also not unfamiliar to me. I was duly ignored. So what is the point in responding?
You have a teacher who I would hope knows of your plans. That is the person who can best advise you on these things. Are you aware that in preparing for Juilliard or any good school it is not just a matter of preparing pieces? There are a number of skills and theory that have to be developed. Is your teacher discussing these with you? Does he have a plan for helping you approach this goal? Above all, your teacher needs to know what your goals are - does he?
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Forget your dreams. Stop thinking about college. Forget Julliard. Just think about music now. Study your scores, listen to your teacher, understand your body, learn your instrument. Study forms, musical periods, etc. Take every note, dynamic and marking dead serious. There are no shortcuts, and if you do that, by the time college comes around, I'm sure you will get into some school. (again, drop the Julliard nostalgia. The teacher and atmosphere is what counts... it is possible to get a great musical education at a state school. And relative to the art you generate, the name of the school on your diploma couldn't be more meaningless.) And if you do get into college in the future, don't make it about competition, or status, or success. Learn from and enjoy your peers, but never worry about them or try to calibrate yourself to them. ...Just worry about the music. That's just my two cents. Take it or leave it. (P.S. I admire your enthusiasm, daring, and passion.) Now... remember your dreams and get to work!
Last edited by Catenaires; 08/07/10 08:21 PM.
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(also, maybe get into contact with some of the piano faculty at Conservatories and Universities near you.)
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I didn't ignore you, I sent you a message, and you never replied back to me. My teacher is aware that I want to go to Juilliard.
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It should not matter which piece among the choices that you play. What will matter is how you play it, and what you will say about your abilities when you play it.
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.....This is a very toxic mentality to have.... Yes. It's good that this is getting some focus. People might get upset when we don't answer them directly but sometimes we'd be doing them a disservice if we just did that. If their approach is off, that's what they need to hear -- and that's what could really help them. And it's great that Brooke seems to be hearing it.
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This is heart-warming. I hope it doesn't feel too disappointing to be hearing all this. We're really helping you focus in a way that will make you do as well as you can with your music, and have your best chance to get to Juilliard or wherever it is that your best future may be.
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If you have that kind of talent, which i have no reason to believe you do or don't, Juilliard or even Leschetizky will not be a problem. Just my 2 cents.
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Do you think if I build my way up like Butters109 said, I'll have a chance at Juilliard? In 10-12 years?
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This sounds like a hefty task, but you seem to love music so I think you would be fine with it: Listen to the classical sonatas they say you must pick from. I know that that is a LOT of music to listen to, but you've got 10 years, right? Also, for the most part, "What should I play threads" aren't favored here. They seem like great ideas at first, but it's hard for us to decide what you should play. Now, we CAN tell you which pieces from those are our favorites, but usually the consensus is that you should ask your teacher or listen to them to see which ones you like yourself. That being said, I think Mozart's A Minor sonata K. 310 is a nice piece. The B Flat Major sonata K. 333 is also great. I see you like the Haydn Sonata in C Minor Hob XVI:20. That's a great piece, too! Beethoven's sonatas are (for the most part) a step up in difficulty and depth above Haydn's and Mozart's. But my BIGGEST recommendation to you is that between now and then, learn MULTIPLE - no, MANY and MANY MORE sonatas by Mozart and Haydn, and then later Beethoven and Schubert. The more you know, the more you will be familiar with the classical style, and the better you will play ALL the classical sonatas that you ever learn. Also, you will have multiple sonatas to choose from. The classical era may overall be my favorite era of music.
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A better chance than if you start by learning the repertoire you listed in your OP, for sure.
Gain one skill at a time. And if you can gain a new skill every 10 minutes then you'll be powering away!! (Even a new skill every hour would be fabulous.) But be aware of what you are working on, learn how to look at a new piece and analyse the technical requirements it will demand of you. Your ambition is within classical parameters - gain an excellent understanding of how the music works, how your body works with the piano. Then you can apply this understanding to any specific piece of repertoire.
The skill set is far more important than learning advanced repertoire. By a factor of at least 10,000. Focus on having a solid base and then you will be able to do whatever you want (rather than just having it as a 'goal').
Teacher, Composer, Writer, Speaker Working with Hal Leonard, Alfred, Faber, and Australian Music Examination Board Music in syllabuses by ABRSM, AMEB, Trinity Guildhall, ANZCA, NZMEB, and more www.elissamilne.wordpress.com
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Brooke isn't listening to anyone. He's just posting whatever he can to keep these threads alive.
This young fellow doesn't need musical advice. He needs, and seriously craves, attention. That's why he's here. It's very sad, but I believe that it's true.
Brooke, I hate to say this, but you need to post a video of yourself playing a significant piece. Because, frankly, at this point, most of us are inclined to consider you to be be a site pest or a troll.
Go ahead. Hate on me. But I've been watching your posts, and they concern me. I've worked with youth for over 30 years, and I can recognize a needy young person when I see one. You really, really fit the bill.
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Wdot, I don't have much to say to you, to be honest. I've heard it all before, but when I do make my video, you will be one of the first people I send it to.
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I look forward to seeing and hearing it.
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I've heard it all before. So have we. And I'm inclined to close this post as well. Nobody is able to recommend pieces for you because none of us know your playing. We don't know your strengths or weaknesses, your work ethic, your atmosphere or background. I'll check in the morning to see how this thread develops overnight. Two pages in 4 hours usually isn't a good sign.
"If we continually try to force a child to do what he is afraid to do, he will become more timid, and will use his brains and energy, not to explore the unknown, but to find ways to avoid the pressures we put on him." (John Holt) www.pianoped.comwww.youtube.com/user/UIPianoPed
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Brooke, let me offer you some honest advice. I played through the Piano Adventures series for four years, so I know what those books are like. With all due respect to you and your teacher, the difference between "Piano Adventures: Level 1 Technique & Artistry" and the "Raindrop" Prelude is enormous. I would sugguest you begin by learning some simpler pieces, such as pieces from Schumann's "Album for the Young" Op. 68 (real gems: lots of musicality and character!!), some Bach (Some Anna Magdalena Notebook, 15 Inventions), some short pieces by Mozart, Haydn, and Beethoven, a Chopin mazurka (possibly). PLEASE bring these suggestions to your teacher!! Build up a repertoire of easyily accessible music. Perform for others. Give attention to every dynamic, articulation, phrase, rhythm. Learn your scales and arpeggios. Learn some music theory. Through learning and the aquisition on musical knowlege and ideas, you will succeed.
Working On:
BACH: Invention No. 13 in a min. GRIEG: Notturno Op. 54 No. 4 VILLA-LOBOS: O Polichinelo
Next Up:
BACH: Keyboard Concerto in f minor
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Why don't you go practice and worry about repertoire that you'll play in 10 years, well, in 10 years? heck I've changed my mind about recital repertoire weeks and even days before I've performed it.
This thread is pointless. You WILL change your mind about what you play, so why ask now? It's so far away from here.
What, you wanna learn it now so it's all good and ready? What will you do when your teacher gives you 2 hours of repertoire, a concerto and chamber music to learn between 4-7 months?
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Do you think if I build my way up like Butters109 said, I'll have a chance at Juilliard? In 10-12 years? I think it's way too early to even be thinking much about it -- which in a way is the main thing that a lot of people are trying to tell you. You're looking too many steps ahead. Would you have a chance? Sure, it's possible, but the odds would be against you -- as they would be for anybody, even people who are much further along -- because that's just how it is. It's nice to say "We can do anything if we really set our mind to it," but for things like this, that's usually not true. Most young pianists -- including terrific ones, people who were working toward it for years -- don't wind up being able to get into Juilliard. BUT...... a big part of what we're trying to tell you also is that Juilliard per se isn't that crucial. If you like the idea of having it as a goal, and if it helps you, fine. But don't feel it's such a be-all-and-end-all, because it isn't.
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I didn't ignore you, I sent you a message, and you never replied back to me. My teacher is aware that I want to go to Juilliard. I never got that message. Sometimes the system has hiccups.
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What will you do when your teacher gives you 2 hours of repertoire, a concerto and chamber music to learn between 4-7 months? That happened to me just now, but not quite on that large of a scale. Wow, it is sure a lot of practice! Fortunately I LOVE all the pieces.
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Yeah this is why I pick my own rep now.. hahahahah.. and boss my chamber groups around. Except when they made me do Brahms last year. I wanted to strangle them.
"The eyes can mislead, the smile can lie, but the shoes always tell the truth."
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My professor picked my rep, but he has great taste.
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I hear that about a lot of people.. I haven't let a teacher decide for me in 5 years. I NEED to pick my own..
See I have this problem with authority.... ;D
"The eyes can mislead, the smile can lie, but the shoes always tell the truth."
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Kreisler, I think this is more a psychological thing than a musical one, and it looks like some decent things are going on. Although of course I could be wrong, on both counts. On the other thread, the person did mention such an issue, and it seems her way of looking at this subject is part of that larger thing. Perhaps delusionally, I fancy that we can help people with such things on a discussion board, and at the same time, to get these larger conceptual things across to others who are reading it and may benefit from it. It's about way more than music; it's about how to approach goals. Things are sometimes about more than the narrow presented subject, and I think this is one such thing.
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Go on youtube, and listen to the great masters playing the repertoire, and you will simultaneously learn how amazing the piano can sound, while finding music you will love for your whole life as well as learning about musicality.
Embrace the internet!
Working on: Chopin - Nocturne op. 48 no.1 Debussy - Images Book II
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I hear that about a lot of people.. I haven't let a teacher decide for me in 5 years. I NEED to pick my own..
See I have this problem with authority.... ;D Haven't LET a teacher? That's new to me! I like picking some rep, but I feel like my teacher knows much more than I do... I mean, the music he picked for me clicks VERY well, and this is after him only hearing me in one sample lesson, my audition, and watching some of my YouTube videos (he uses YouTube too, so that's good that he's up to date with all the modern technology, hehe). Who is your teacher?
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I hear that about a lot of people.. I haven't let a teacher decide for me in 5 years. I NEED to pick my own..
See I have this problem with authority.... ;D Haven't LET a teacher? That's new to me! I like picking some rep, but I feel like my teacher knows much more than I do... I mean, the music he picked for me clicks VERY well, and this is after him only hearing me in one sample lesson, my audition, and watching some of my YouTube videos (he uses YouTube too, so that's good that he's up to date with all the modern technology, hehe). Who is your teacher? I pick my repertoire too. That's how I got away with playing Chasse-neige, the Waldstein, a crazy Scriabin etude, and Ravel's Une Barque for my upcoming exam.
Working on: Chopin - Nocturne op. 48 no.1 Debussy - Images Book II
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OSK, PM if you're curious =)
I just need to have my own thing now. I pick repertoire that is very close to my heart, something I'm dying to play, otherwise I don't play it well.
I also think of lessons more as coachings.. I'm going into my last year of bachelor. So I'm getting old... A good teacher will teach you how not to need him/her..
But anyway! I think you're much younger than me, aren't you?
"The eyes can mislead, the smile can lie, but the shoes always tell the truth."
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P.M. it is.
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In an attempt to try and quell things a bit...read what I've written carefully...
I HAVE heard Brooke play via video and what I will say is that yes, she CAN play at least one of the works she's listed. Keep in mind that she's said she's been playing for 12 weeks and for 12 weeks it's actually pretty good. Does her playing hold promise for her as an Eastman, or Juilliard applicant in four years? No, and I've told her this. In 10-12 years? I've no way of knowing, nor does anyone else here. This I've told her as well. I've also told her that posting a video would not be a good idea and that it would only serve to continue to stir the pot...no point in doing that.
"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy
"It's ok if you disagree with me. I can't force you to be right."
♪ ≠$
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Mark, I can't send you a P.M. so I'm just going to say here: If you don't reach the 10k post club within a year of being at this forum, I'm going to be disappointed in you. And I'd like to hear this video, too.
Last edited by Orange Soda King; 08/08/10 12:29 AM.
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.....If you don't reach the 10k post club within a year of being at this forum,.... I'm not quite on course for that.
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I've heard it all before. So have we. And I'm inclined to close this post as well. Nobody is able to recommend pieces for you because none of us know your playing. We don't know your strengths or weaknesses, your work ethic, your atmosphere or background. Plus, there is absolutely no guarantee that the Juilliard list of pieces will be the same when the time comes.
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I'd recommend Beethoven 31/3 The Hunt, also Schubert D960, and Mendelssohn's Albumblatt.
Cheers,
Victor
Currently working on: Perfecting the Op 2/1, studying the 27/2 last movement. Chopin Nocturne 32/2 and Posth. C#m, 'Raindrop' prelude and Etude 10/9 Repetoire: Beethoven op 2/1, 10/1(1st, 2nd), 13, 14/1, 27/1(1st, 2nd), 27/2, 28(1st, 2nd), 31/2(1st, 3rd), 49/1, 49/2, 78(1st), 79, 90, 101(1st)
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As said before, there's no sense in really giving advice based on a repertoire of unfinished works. Claire de Lune, as advised earlier, would be a good place to start. You could try Chopin's Opus 28, No. 4 or the first movement of the Moonlight Sonata. Both are slow, emotional pieces that are great to learn.
If you want to apply to the best music school, go ahead and aim for the top: try the Hammerklavier. Obviously, there's no real point in going to a music school in order to learn how to perform afterwards, but meh.
What did you start on, by the way? What was the very first thing that you tried to learn? I could, hypothetically, see someone playing half pages of advanced work within a couple of months (even I tried some fairly advanced stuff in the first few months). However, they usually don't start with them on the first week.
Also, did you finish all the pieces you said you were learning? In my experience, nothing is as bad as leaving pieces unfinished. It eats at the mind.
"Practice makes perfect, but obsession makes better."
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.....nothing is as bad as leaving pieces unfinished. It eats at the mind. ......unless you find that you don't like/love the piece enough to continue.....or if you find that you just can't play it, in which case hopefully it's a learning experience for what to work on next. I think with this person it's more likely to be one of those latter things. Remember, she's just starting -- and most of us think she's probably not being selective enough about what she's working on.
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In my experience, nothing is as bad as leaving pieces unfinished. It eats at the mind. So THAT's why I'm such a half-wit!
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Why not learn Alkan's Concerto for Solo Piano...that will be impressive
All theory, dear friend, is grey, but the golden tree of life springs ever green.
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.....nothing is as bad as leaving pieces unfinished. It eats at the mind. ......unless you find that you don't like/love the piece enough to continue.....or if you find that you just can't play it, in which case hopefully it's a learning experience for what to work on next. I think with this person it's more likely to be one of those latter things. Remember, she's just starting -- and most of us think she's probably not being selective enough about what she's working on. Well, in this case this person isn't being selective enough, but that's not entirely her fault (I lay much of the blame at her teacher's feet). We all tried to play repertoire that was over our heads when we were young, but this is a case where solid foundations are not being laid. You may want to scroll up a bit and read my last post.
"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy
"It's ok if you disagree with me. I can't force you to be right."
♪ ≠$
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Why not learn Alkan's Concerto for Solo Piano...that will be impressive It is not on the list.
Semipro Tech
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.....nothing is as bad as leaving pieces unfinished. It eats at the mind. ......unless you find that you don't like/love the piece enough to continue.....or if you find that you just can't play it, in which case hopefully it's a learning experience for what to work on next. Actually, yeah, I probably should've added that. Most of the pieces I haven't finished or just dropped for a while are pieces I got bored with at some point, or felt that I had no business playing because they were beyond my level at the time. However, I do keep telling myself that I'll get back to them and finish actually learning them, if only because I, deep down, still wish I could play them. In this case, I said it mostly because it seems like every post she makes she's starting on a new piece. I mean, the repertoire she posted was mostly half-page stuff. I'd say that, in that case, it's important to remember to finish a complete piece.
"Practice makes perfect, but obsession makes better."
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(I had read it, and it was a good post, but I think you may be taking too much from her at face value.)
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(I had read it, and it was a good post, but I think you may be taking too much from her at face value.) How so?
"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy
"It's ok if you disagree with me. I can't force you to be right."
♪ ≠$
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When I was first planning on a going to school for music (about 2 years ago), I began choosing my audition pieces and getting excited just as you are. But, over the past 2 years I've changed immeasurably as a musician and while I am going to music school, none of my thoughts from 2 years ago had anything to do with how I chose my audition rep. Just focus on the now, work towards a goal slowly. Ten years is a long time.
Last edited by bplary1300; 08/08/10 02:27 PM.
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(I had read it, and it was a good post, but I think you may be taking too much from her at face value.) Prolly. On the other hand, I don't want to judge too quickly. After all, I have never heard her play. I'm saving up all the nasty for if she turns out to be lying. Also, I especially feel that if the music is half-assed, as many people seem to think, and not technically and emotionally perfect, as she seems to think, it's more important to perfect what she's doing rather than to do different things.
"Practice makes perfect, but obsession makes better."
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Why not learn Alkan's Concerto for Solo Piano...that will be impressive It is not on the list. Haha...ahh sorry i forgot about the list, it's probably because i was listening to Alkan at the time
All theory, dear friend, is grey, but the golden tree of life springs ever green.
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Dear Brooke, if you could first finish a piece (you also were working on the Claire de Lune right?) so we can now what level you are.
Currently working on: Perfecting the Op 2/1, studying the 27/2 last movement. Chopin Nocturne 32/2 and Posth. C#m, 'Raindrop' prelude and Etude 10/9 Repetoire: Beethoven op 2/1, 10/1(1st, 2nd), 13, 14/1, 27/1(1st, 2nd), 27/2, 28(1st, 2nd), 31/2(1st, 3rd), 49/1, 49/2, 78(1st), 79, 90, 101(1st)
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(Zindaras -- No worries! My post wasn't about your post, it was to Stores. But I can see that it looked that way since it was right after your post.)
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Working On-
Deux Arabesques, Debussy
On Queue-
Danse Russe from Petroushka, Stravinsky Toccata, Ravel
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(I had read it, and it was a good post, but I think you may be taking too much from her at face value.) Prolly. On the other hand, I don't want to judge too quickly. After all, I have never heard her play. I'm saving up all the nasty for if she turns out to be lying. Also, I especially feel that if the music is half-assed, as many people seem to think, and not technically and emotionally perfect, as she seems to think, it's more important to perfect what she's doing rather than to do different things. She CAN play. If you read my post (and I said this there) carefully you'll notice a few things that should tip you off.
"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy
"It's ok if you disagree with me. I can't force you to be right."
♪ ≠$
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(Zindaras -- No worries! My post wasn't about your post, it was to Stores. But I can see that it looked that way since it was right after your post.) I'd ask you to send me a pm, but you don't do that.
"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy
"It's ok if you disagree with me. I can't force you to be right."
♪ ≠$
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I would recommend that for your audition program you choose pieces that no one else would play. The screeners at Juilliard listen to the same audition pieces over and over again. The idea is to get their attention over the hundreds of other auditioners. You want them to say, "he's playing what?", and force them to look it up, because they've never heard it before. Then they are forced to pay attention to your playing.
Thus, for the classical sonata, don't choose anything by Beethoven, because hundreds of auditioners are going to be playing all of them--until the screeners get numb from hearing the same thing over and over--or even Haydn or Mozart. Choose something by Schubert.
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Yeah like his 959 and 960 aren't gonna be played everyday...
Currently working on: Perfecting the Op 2/1, studying the 27/2 last movement. Chopin Nocturne 32/2 and Posth. C#m, 'Raindrop' prelude and Etude 10/9 Repetoire: Beethoven op 2/1, 10/1(1st, 2nd), 13, 14/1, 27/1(1st, 2nd), 27/2, 28(1st, 2nd), 31/2(1st, 3rd), 49/1, 49/2, 78(1st), 79, 90, 101(1st)
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She CAN play. If you read my post (and I said this there) carefully you'll notice a few things that should tip you off. I noticed, but there are a lot of different shades of being able to play. It certainly helped, as I was a lot less inclined to believe her before your post. I tried to give her advice based on what you said as well. Also, @Mark C: I should've read better.
Last edited by Zindaras; 08/08/10 04:19 PM.
"Practice makes perfect, but obsession makes better."
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BruceD - - - - - Estonia 190
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But of course! Remember "the New Math"? This is the new English! But seriously folks.....language evolves. Don't be surprised if in 200 years "prolly" is the standard form. Let's make sure to check back.
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Let's make sure to check back. cuz yul never no if u dont.
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She CAN play. If you read my post (and I said this there) carefully you'll notice a few things that should tip you off. I noticed, but there are a lot of different shades of being able to play. It certainly helped, as I was a lot less inclined to believe her before your post. I tried to give her advice based on what you said as well. Of course, you don't know he isn't lying also.
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She CAN play. If you read my post (and I said this there) carefully you'll notice a few things that should tip you off. I noticed, but there are a lot of different shades of being able to play. It certainly helped, as I was a lot less inclined to believe her before your post. I tried to give her advice based on what you said as well. Of course, you don't know he isn't lying also. Oh. My. God. I don't think I'll ever be able to trust the Internet again.
"Practice makes perfect, but obsession makes better."
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(I had read it, and it was a good post, but I think you may be taking too much from her at face value.) I would say that again.. This is the wackiest thread series I have seen around here, and we have had quite a spectrum.. The "person" in question seems to be playing the entire community with superb trollesque skills. I often remind myself to soften any critique or discontent when dealing with younger people, but "gullibility" is not a state I enjoy indulging in..
Last edited by Andromaque; 08/08/10 05:11 PM.
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If you're right, then indeed I'm being played. Anyway, we have about 5 different views of her going on.....
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I'm finding the threads both quite funny and illuminating. Even if it's just a troll, reading about all the experiences of other people did teach me something.
"Practice makes perfect, but obsession makes better."
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Don't forget she has been playing the guitar for quite a few years. When you play an instrument and start a new one, it is much easier. I mean, she is not new to the world of music.
Music is my best friend.
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Ah Dutch tolerance!!.. It is not as prevalent in New Amsterdam as it is in the old country (recent politics there non-withstanding)
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Yeah that particular guy in question gets his funds from the US (some rich sponsers there)... and most dutch people aren't happy about it either. Anyway, stores, show us the money, tell us what she can do, and let us be able to give good advice!
Currently working on: Perfecting the Op 2/1, studying the 27/2 last movement. Chopin Nocturne 32/2 and Posth. C#m, 'Raindrop' prelude and Etude 10/9 Repetoire: Beethoven op 2/1, 10/1(1st, 2nd), 13, 14/1, 27/1(1st, 2nd), 27/2, 28(1st, 2nd), 31/2(1st, 3rd), 49/1, 49/2, 78(1st), 79, 90, 101(1st)
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On a serious note, if you are really Juiliard (or top conservatories) material, you would have learned and performed a sizeable collection of piano sonatas from various composers. You would then consult your teacher and choose one that you play best for audition. CWPiano, You cannot generalize or using old standard to Brooke. She progressed unusually fast so regardless what other people had done in the past, Brooke is able to catch up easily. Within 12 weeks or so, she has started Ballad No.1, so it is obvious that Brooke is very very talented.
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If you're right, then indeed I'm being played. Anyway, we have about 5 different views of her going on..... I've done a fair bit of behind-the-scenes checking. Rest assured that if I detected a sock-puppet, the account would be disabled. People should know that the forum software automatically detects and notifies the forum administrators of people creating multiple accounts from the same IP address, and moderators can see IP addresses so we can look up the source of people's posts.
"If we continually try to force a child to do what he is afraid to do, he will become more timid, and will use his brains and energy, not to explore the unknown, but to find ways to avoid the pressures we put on him." (John Holt) www.pianoped.comwww.youtube.com/user/UIPianoPed
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You do not need multiple accounts in order to impersonate a fantasy. Your spyware only tracks IP providers/locations but not the typist.
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Well thank you, but I have been playing Fingerstyle guitar (finger-picking type) for about eight years. (I think I mentioned it a few times in other threads.) So my hand is used to playing music. That might have something to do with it? Btw, RS, I got the first four measures LH up to speed or at least close (Revolutionary,) and I will not even attempt showing you from MY piano that I have (results, poor feedback) I guess I can show you through an electric piano. -- My piano almost makes my playing look bad. That's why I haven't made a video for you guys yet. I showed stores raindrop prelude and it was a pretty bad video, nothing like how I really play, so I'm making one on Tuesday I think, through an electronic.
-- My teacher thinks I am talented, though.
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I'm not a troll, my sister and I made an account. Those are the only accounts from my IP.
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This site is getting too wacky itself. I'm ready to close my account anyway. So many insolent, narrow minded people here. Hmm. I'm starting to think the only keyboard you people know of is the one sitting at the computer desk.
-- See ya, I won't be back. So no need to stir up anything any longer.
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She CAN play. If you read my post (and I said this there) carefully you'll notice a few things that should tip you off. I noticed, but there are a lot of different shades of being able to play. It certainly helped, as I was a lot less inclined to believe her before your post. I tried to give her advice based on what you said as well. Of course, you don't know he isn't lying also. Please. As if I'd have a reason to lie about it. You've read enough of my posts Damon to know I don't beat around the bush about much of anything.
"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy
"It's ok if you disagree with me. I can't force you to be right."
♪ ≠$
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If you're right, then indeed I'm being played. Anyway, we have about 5 different views of her going on..... I've done a fair bit of behind-the-scenes checking. Rest assured that if I detected a sock-puppet, the account would be disabled. Did somebody suggest she was a sock-puppet? I think the "5 different views" meant there are about that many different views of what is going on with this person.
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Please. As if I'd have a reason to lie about it. You've read enough of my posts Damon to know I don't beat around the bush about much of anything. Maybe that's exactly what you'd like us to think. Fiend!
Repertoire John Cage: 4'33"
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I'm not a troll, my sister and I made an account. Those are the only accounts from my IP. How do two people make one account? Or, wait, is it two accounts? Odd how it changes from "account" to "accounts" in the course of two sentences.
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So many insolent, narrow minded people here. Yes, I agree! Much luck to you if your goal remains in ten years.
SMPBMH
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I'm not a troll, my sister and I made an account. Those are the only accounts from my IP. OK, how do we know when it's you, and when it's your sister? Wait, are you you or are you .... I'm so confused. Just keep playing and keep learning. In the end, that's what counts. Enjoy the music and enjoy each new accomplishment.
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She CAN play. If you read my post (and I said this there) carefully you'll notice a few things that should tip you off. I noticed, but there are a lot of different shades of being able to play. It certainly helped, as I was a lot less inclined to believe her before your post. I tried to give her advice based on what you said as well. Of course, you don't know he isn't lying also. Please. As if I'd have a reason to lie about it. You've read enough of my posts Damon to know I don't beat around the bush about much of anything. My point was that you could be a manufactured persona as some people believe of Brook (among 4 other things) I don't think you are, but it's entirely possible. We are (mostly) all strangers here.
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Please. As if I'd have a reason to lie about it. You've read enough of my posts Damon to know I don't beat around the bush about much of anything. Maybe that's exactly what you'd like us to think. Fiend!
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My point was that you could be a manufactured persona as some people believe of Brook (among 4 other things) I don't think you are, but it's entirely possible. We are (mostly) all strangers here. Three Faces of Eve Or is it the three faces of ....?
Jose Kawai K5 - Kawai CA61
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I would recommend that for your audition program you choose pieces that no one else would play. The screeners at Juilliard listen to the same audition pieces over and over again. The idea is to get their attention over the hundreds of other auditioners. You want them to say, "he's playing what?", and force them to look it up, because they've never heard it before. Then they are forced to pay attention to your playing.
Thus, for the classical sonata, don't choose anything by Beethoven, because hundreds of auditioners are going to be playing all of them--until the screeners get numb from hearing the same thing over and over--or even Haydn or Mozart. Choose something by Schubert. I agree with the premise that one should pick a piece that the screeners aren't expecting and a piece that isn't all that popular and grossly overplayed in order to attract more attention to yourself and stand out.
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On a serious note, if you are really Juiliard (or top conservatories) material, you would have learned and performed a sizeable collection of piano sonatas from various composers. You would then consult your teacher and choose one that you play best for audition. CWPiano, You cannot generalize or using old standard to Brooke. She progressed unusually fast so regardless what other people had done in the past, Brooke is able to catch up easily. Within 12 weeks or so, she has started Ballad No.1, so it is obvious that Brooke is very very talented. I hope you are not being sarcastic in your post. My post was not to critize Brooke but to to give her an idea of the level she needs to be if she wants to audition to Eastman, Peabody, Juiliard, etc. That being said, I do not treat the word 'talented' lightly. The same word and other superlatives have been used to describe my playing by respected pianists recently and I have been urged to perform a full solo recital or release a CD. Does it matter to me? No. I set my own standard which is extremely high. Only I can make know extent of my ability. I don't use other people's praises to let me know 'if I'm ready'.
Singapore based private teacher specialising in accelerated ABRSM course. Author of Visual Guides to Scales and Arpeggios. Visit my website at www.wunadymusicstudio.com
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Btw, RS, I got the first four measures LH up to speed or at least close (Revolutionary,) and I will not even attempt showing you from MY piano that I have (results, poor feedback) I guess I can show you through an electric piano. -- My piano almost makes my playing look bad. That's why I haven't made a video for you guys yet. I showed stores raindrop prelude and it was a pretty bad video, nothing like how I really play, so I'm making one on Tuesday I think, through an electronic.
-- My teacher thinks I am talented, though. How about the next 4 measures? Please don't run away yet.....We (or at least, I) want to see the first 8 measures of RE on a real piano. A keyboard does not count, especially if the keyboard is a keyboard sold at Costco or Bestbuy....If you play on a keyboard, I have no doubt that you can reach the standard tempo easily... Please show not only to your teacher that you are talented, but also to us. We will never forget a girl with 12 weeks experience can play the first 8 measures RE at the correct tempo.
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I have read Brooke Taylor's threads with great amusement. I am mainly amused at the responses which Brooke has received so far. Mostly kind responses from well-meaning members.
However, I'm afraid peoeple haven't been entirely truthful with Brooke about the KIND of pianist Juilliard is interested in accepting into their undergraduate program. There really are two ways to get into the program. The first and best way, is to go through the Juilliard Pre College program. Brooke, if Juilliard is really where you want to go, this is your best bet.
Getting into Juilliard without first being cozy with a faculty member is difficult.
You mention that you intend to audition for Juilliard in 10 or 12 years time.
By that time you will be somewhere around the age of 23.
I regret to tell you that Juilliard has no interest whatsoever in accepting 23 year olds for first year undergrad, no matter how talented they are or accomplished they have become in their previous 12 years.
They're looking for people between the ages of 16-18.
In addition the the official audition requirements, YOU MUST BE PREPARED TO IMPROVISE FOR THEM. If you get a callback for a second audition, they will most likely ask you to improvise.
Good luck, Brooke. I admire your enthusiasm and dedication. I look forward to your video on Tuesday. I don't think you'll get into Juilliard this time around. If even for no reason besides the age thing...
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Ok, I wont leave just yet.
JustAnotherPianist -- I would go through the Juilliard Pre College. Problem is, I don't live in New York City. So I can't. I am familiar with a few faculty members. We talk on Facebook. I don't plan on attending for my undergrad. I want to attend for my graduate. It said on their website, that there is no minimum or maximum age limit. Thank you, JustAnotherPianist. I really appreciate your answer.
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As for, you RS, I'll give you guys one more chance. Just stop talking about my past threads.
-- I can't play it on my piano. It sounds so bad. At the local music store there is an electronic grand?? Are you sure? My teacher knows that I am. It's cool that you think I'm talented.
:+)
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Just remember that not getting into Juilliard doesn't prevent anyone from becoming a great pianist.
One of my best friends REJECTED a full four-year scholarship at the age of 16 to study at Juilliard. He chose instead to stay in the city in which he was based. He has done very well. He is the greatest young pianist I know.
Another friend of mine is going there for a masters degree this fall. He is, objectively speaking, NOT of the caliber of yet ANOTHER friend of mine, who, despite one call-back audition, did NOT get accepted into Juilliard.
That friend (the one who did not get in) chose to go to another big American school to study with a mega-teacher. That school offered him a full four-year scholarship, and he has been doing very well since-he is well on his way towards an international career.
I hope these brief anecdotes help you to see that Juilliard is not the be-all and end-all of music schools.
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Ahh I see what you said about wanting to do your graduate degree there. You should be able to get into their graduate programme without much difficulty if you work hard for the next 10 years.
My brother was accepted to Juilliard for Masters, but chose to go elsewhere. He's good on his instrument (not piano) but I know many who are better.
The friend I told you about who is going there in the fall is a decent pianist (he's no hack) but he's nowhere NEAR the calibre of the other two I mentioned.
Juilliard likes to think that they only let in the top 1/10th of 1% of top piano students. The truth is, while their standards are indeed high, only a fraction of Juilliard graduates in piano will go on to have a successful solo career. These are the types like my best friend. They offered him a free ride. He was that good.
It's not so hard to get in without a scholarship though... Not if you're good. If you're good....they'll happily take your money....
Curtis, on the other hand......
Once again, I wish you the best of luck in your studies as a pianist.
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.....You should be able to get into their graduate programme without much difficulty if you work hard for the next 10 years.... Huh????? Unless their standards are way different than I knew. Nothing against Brooke, just a general thing about saying this to anyone, especially someone you don't know and is so far from the point of applying. I wouldn't think you could reliably say that even to someone you know well and who is close to that point. There would still be a question mark.
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Of course you're right...there are no guarantees in life. There is of course a huge element of luck in this. You'll notice I said Brooke would be ABLE to get in.... doesn't necessarily mean Brooke will get. My friend who did NOT get in (despite having take top prizes in international competitions) is much better than another friend of mine who is GOING there. What I meant to Brooke (and I mean this), is that with his/her(don't remember which now) apparent talent and the 10 years of obvious hard work, Brooke should have no trouble reaching the level my friend is at (the one who's going there), and hence be ABLE to get in. hope that clears things up.
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I agree with JustAnotherPianist.
You don't have to be one in a million to get there. It's an amazing school, and I know t hat is what I want to do with the rest of my life. Just think, I can play Raindrop prelude, Prelude and fugue no.7, part of Un Sospiro, etc -- that is just me in 14 weeks. Now think 10 YEARS.
Never say never, mark. Don't shoot down my hopes and dreams when they have yet to begin.
:+)
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....hope that clears things up. Not in the least. ....Never say never, mark.... Don't worry -- I didn't, and won't.
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Thank you so much! I agree with you. If I do not get in, though, I have my eyes open. But for now, I have my eyes on the prize. No one is stopping me. I really appreciate you taking the time to help me out!
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....Never say never, mark.... Don't worry -- I didn't, and won't. [/quote] Good.
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An Astronomer used to go out at night to observe the stars. One evening, as he wandered through the suburbs with his whole attention fixed on the sky, he fell accidentally into a deep well. While he lamented and bewailed his sores and bruises, and cried loudly for help, a neighbor ran to the well, and learning what had happened said: "Hark ye, old fellow, why, in striving to pry into what is in heaven, do you not manage to see what is on earth?"
Repertoire John Cage: 4'33"
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"Sir, it is because I believe I will go there someday!"
Last edited by Brooke Taylor; 08/09/10 01:30 AM.
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Hi Brooke - Perhaps this was covered somewhere in your past threads - and if it has already been addressed, please forgive me for asking again - BUT - Lets assume that you will ultimately earn a performance degree from Juilliard - or another top notch school. Then what??? What do you plan to do with it ??? In other words - what are your long term goals??? Just curious. Best -
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Nice Parable!
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I hate to "beat a dead horse", if you will, but this is one point that I would ask you to take note of: I believe that you will make greater progressif you begin with pieces that are at nearer to what your real level of ability may be. Please do not think that I mean to say that you do not have talent or that you are not a music-loving pianist. But I think that by building a repertoire of easily accessible music, being sure to pay attention to every note, chord, dynamic, articulation, and phrase marking, that you will find easily achievable goals that will put you well on the way to musical greatness, if you work intelligently and learn from everything you do.
Working On:
BACH: Invention No. 13 in a min. GRIEG: Notturno Op. 54 No. 4 VILLA-LOBOS: O Polichinelo
Next Up:
BACH: Keyboard Concerto in f minor
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An Astronomer used to go out at night to observe the stars. One evening, as he wandered through the suburbs with his whole attention fixed on the sky, he fell accidentally into a deep well. While he lamented and bewailed his sores and bruises, and cried loudly for help, a neighbor ran to the well, and learning what had happened said: "Hark ye, old fellow, why, in striving to pry into what is in heaven, do you not manage to see what is on earth?" Hark should make a comeback, one of the best words ever invented (besides Hello, god bless Edison). I'm gonna be a bit rude, however down to earth, and say: 'No finished pieces, is no pieces'.
Currently working on: Perfecting the Op 2/1, studying the 27/2 last movement. Chopin Nocturne 32/2 and Posth. C#m, 'Raindrop' prelude and Etude 10/9 Repetoire: Beethoven op 2/1, 10/1(1st, 2nd), 13, 14/1, 27/1(1st, 2nd), 27/2, 28(1st, 2nd), 31/2(1st, 3rd), 49/1, 49/2, 78(1st), 79, 90, 101(1st)
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Okay, you have officially lost me. It doesn't seem like you've regarded much of what I've actually told you, either here or in private, so I'm finished trying to help you.
But I do hope you achieve your goals.
Last edited by Orange Soda King; 08/09/10 10:44 AM.
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Hmm. I was thinking that I would play with orchestras all around the world. Or, I would Teach at Juilliard? I am not sure.
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Playing with orchestras around the world would be way more fun that having to stay in one place I think. See the world. Get to play with the best symphonies, and the best musicians in the world! Now thats a job I can live with.
Hailun HU7P 1799 John Broadwood and son square 1800 George Astor London square 1810 Gibson and Davis New York square 1830 John Broadwood and sons square
Aeolian-Hammond BA player organ Conn 652 theater organ 1922 Kotykiewicz two manual harmonium 1880s karn pump organ
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I'm quite sure OSK already replied to Brooke, but that post is gone now... odd.
Currently working on: Perfecting the Op 2/1, studying the 27/2 last movement. Chopin Nocturne 32/2 and Posth. C#m, 'Raindrop' prelude and Etude 10/9 Repetoire: Beethoven op 2/1, 10/1(1st, 2nd), 13, 14/1, 27/1(1st, 2nd), 27/2, 28(1st, 2nd), 31/2(1st, 3rd), 49/1, 49/2, 78(1st), 79, 90, 101(1st)
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(I did a reply and deleted it because I decided it's better not to be involved in this any further. Maybe that's the post you saw.)
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Yeah! That would be great. I would be like Valentina Lisitsa! (I wonder if she could get into Juilliard?)
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Born in Kiev, Ms. Lisitsa began playing the piano at the age of three and performed her first solo recital at age four. A slightly different pathway into the big time ... Ah, a concertizing career. It sounds like such fun! Twelve hours a day of practicing. Constant driving/flying from one city to another. Hotel after hotel. Lots of mediocre restaurant fare. Sitting patiently signing CD after CD. Oh yes, lots of fun! Actually, performance does seem to be quite fun, both solo work and ensemble playing with an orchestra. But I think it could become grinding after a while.
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Well, if your passionate about what you do, there should be no problem. In 15-20 years, I think I will be a good pianist. Since is it what I love doing more than anything else on earth.
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Well to be honest that does sound kind of cool Piano*Dad . The constant flying from one country to another and hotel after hotel I am doing already. The feeling one must get when playing for thousands of people, playing a piece you have studied on so long, and really getting that musical message through, and everybody enjoying..... (dreams away).
Currently working on: Perfecting the Op 2/1, studying the 27/2 last movement. Chopin Nocturne 32/2 and Posth. C#m, 'Raindrop' prelude and Etude 10/9 Repetoire: Beethoven op 2/1, 10/1(1st, 2nd), 13, 14/1, 27/1(1st, 2nd), 27/2, 28(1st, 2nd), 31/2(1st, 3rd), 49/1, 49/2, 78(1st), 79, 90, 101(1st)
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Then why are there so many cases of great pianists having long periods of unhappiness? What about the audiences pressure, the fear to fail, the bad days? I am sure life of a virtuoso is not all birds and bees. And there are so many things that one has to give up.
Not to mention the money. Being a teacher probably brings in more money that being a "junior" concert pianist.
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Piano Dad, could you really say Lisitsa is bigtime?
Don't get me wrong, i admire her for being able to devote her life to something she actually loves. That is enough for someone to get my admiration. But she is not a top level pianist , in terms of recognition she is not.
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Then why are there so many cases of great pianists having long periods of unhappiness? What about the audiences pressure, the fear to fail, the bad days? I am sure life of a virtuoso is not all birds and bees. And there are so many things that one has to give up.
Not to mention the money. Being a teacher probably brings in more money that being a "junior" concert pianist. There is unhappiness in all kinds of work, sure being at the top isn't easy, but then again I never said that it was.
Currently working on: Perfecting the Op 2/1, studying the 27/2 last movement. Chopin Nocturne 32/2 and Posth. C#m, 'Raindrop' prelude and Etude 10/9 Repetoire: Beethoven op 2/1, 10/1(1st, 2nd), 13, 14/1, 27/1(1st, 2nd), 27/2, 28(1st, 2nd), 31/2(1st, 3rd), 49/1, 49/2, 78(1st), 79, 90, 101(1st)
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Born in Kiev, Ms. Lisitsa began playing the piano at the age of three and performed her first solo recital at age four. A slightly different pathway into the big time ... Ah, a concertizing career. It sounds like such fun! Twelve hours a day of practicing. Constant driving/flying from one city to another. Hotel after hotel. Lots of mediocre restaurant fare. Sitting patiently signing CD after CD. Oh yes, lots of fun! Actually, performance does seem to be quite fun, both solo work and ensemble playing with an orchestra. But I think it could become grinding after a while. I think the main reason traveling concert pianists actually exist is because they have become addicted to the buzz they get from being on stage in front of adoring strangers. Plus, I sometimes think that some of them may be perpetually running away from a settled life because of psychological issues, issues which may tie in with why they are musicians in the first place. After all, music for many people is escape.
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I'm not a troll, my sister and I made an account. Those are the only accounts from my IP. At the risk of stating the obvious, I read this as simply: "I'm not a troll, my sister and I each made an account. Those are the only accounts from my IP."
(Used to post as SlatterFan)
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Piano Dad, could you really say Lisitsa is bigtime?
Don't get me wrong, i admire her for being able to devote her life to something she actually loves. That is enough for someone to get my admiration. But she is not a top level pianist , in terms of recognition she is not. I guess that was a slip of the tongue. But one route to recognition is to accumulate fans, one city at a time.
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Piano Dad, could you really say Lisitsa is bigtime?
Don't get me wrong, i admire her for being able to devote her life to something she actually loves. That is enough for someone to get my admiration. But she is not a top level pianist , in terms of recognition she is not. In musical circles she's already very well known, but she's not yet gained much recognition outside of those boundaries. Recognition does not itself make one a top tier pianist, which, with or without said recognition, she is not, in my opinion.
"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy
"It's ok if you disagree with me. I can't force you to be right."
♪ ≠$
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Joined: Jul 2010
Posts: 161
Full Member
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OP
Full Member
Joined: Jul 2010
Posts: 161 |
What are you even talking about?
I made an account: brooke Taylor (Juilliard14)
And my sister Ashley did too: heatmiser9215
Why, is she not allowed to have a separate account?
My goodness you are an idiot.
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Joined: May 2009
Posts: 1,676
1000 Post Club Member
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1000 Post Club Member
Joined: May 2009
Posts: 1,676 |
A little respect is appreciated on this forum. A 14 year old girl is in no position to call one an idiot, imo.
Currently working on: Perfecting the Op 2/1, studying the 27/2 last movement. Chopin Nocturne 32/2 and Posth. C#m, 'Raindrop' prelude and Etude 10/9 Repetoire: Beethoven op 2/1, 10/1(1st, 2nd), 13, 14/1, 27/1(1st, 2nd), 27/2, 28(1st, 2nd), 31/2(1st, 3rd), 49/1, 49/2, 78(1st), 79, 90, 101(1st)
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Joined: Jul 2010
Posts: 161
Full Member
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OP
Full Member
Joined: Jul 2010
Posts: 161 |
Don't boss me around. She is an idiot, just look at what she said! You're pretty stupid too if you don't think so.
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Joined: May 2009
Posts: 1,676
1000 Post Club Member
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1000 Post Club Member
Joined: May 2009
Posts: 1,676 |
She corrected your english, which in this particular case makes her smarter than you (who made the error), sooooooo. Anyway no need to get so upset.
Currently working on: Perfecting the Op 2/1, studying the 27/2 last movement. Chopin Nocturne 32/2 and Posth. C#m, 'Raindrop' prelude and Etude 10/9 Repetoire: Beethoven op 2/1, 10/1(1st, 2nd), 13, 14/1, 27/1(1st, 2nd), 27/2, 28(1st, 2nd), 31/2(1st, 3rd), 49/1, 49/2, 78(1st), 79, 90, 101(1st)
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Joined: Jan 2008
Posts: 1,093
1000 Post Club Member
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1000 Post Club Member
Joined: Jan 2008
Posts: 1,093 |
It might be wise to not give in and lash out at others, the only person it makes look bad is you, Brooke. If you are this sensitive now, might need to work on that before you get into Julliard. Some people are highly turned off that sort of behavior. Really the best thing you can do is develop a thick skin, and ignore comments that you lash out on.
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Joined: Mar 2010
Posts: 3,340
3000 Post Club Member
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3000 Post Club Member
Joined: Mar 2010
Posts: 3,340 |
wise, very wise
Longtemps, je me suis couché de bonne heure, but not anymore!
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Joined: Dec 2009
Posts: 6,651
6000 Post Club Member
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6000 Post Club Member
Joined: Dec 2009
Posts: 6,651 |
A little respect is appreciated on this forum. A 14 year old girl is in no position to call one an idiot, imo. While respect is certainly appreciated the fact that she's 14 needn't enter the picture.
"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy
"It's ok if you disagree with me. I can't force you to be right."
♪ ≠$
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Joined: Nov 2002
Posts: 13,837
Yikes! 10000 Post Club Member
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Yikes! 10000 Post Club Member
Joined: Nov 2002
Posts: 13,837 |
I think I'll enter the picture...
"If we continually try to force a child to do what he is afraid to do, he will become more timid, and will use his brains and energy, not to explore the unknown, but to find ways to avoid the pressures we put on him." (John Holt) www.pianoped.comwww.youtube.com/user/UIPianoPed
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