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👂 HOW TO TRAIN YOUR EAR 👂 Ear training lesson for musicians


– How’s it going, guys,
Julian Bradley here, from the musical ear dot com. So a few days ago I posted a video called “What does playing
music by ear really mean?” and in that video I answered some frequently asked questions
and I debunked some myths surrounding ear training. Now, following that video, I had a lot of comments,
a lot of questions, some of which were quite provocative for a music theory channel. So in this video, I’m going to respond to three of those comments, because they raise good questions. (upbeat piano music) So the first comment is: – [Woman] I’ll have to
disagree with your assertion that trial and error at your instrument is not a method to develop ear skills. I will wager that almost anyone learning to pick out tunes and chords
by listening to recordings and playing back on their instrument will develop a higher degree of accuracy over time and hence a stronger ear. I think discouraging
such practice is foolish. – Okay, so this comment is in response to when I was talking about the difference between playing music by ear and playing music by trial and error. Playing music by trial and error is what a lot of people do, they’ll sit at their instrument, and they’ll just use trial and error until they find the notes which match those in the recording. (disjointed piano notes) So ear training is not actually
much to do with your ear. Ear training is actually brain training. So it’s training your brain
to think a certain way when you listen to music. Now, if you sit at your instrument, your instrument gives
you an instant answer, right or wrong, and it actually removes the brain part, which is required, for you to learn to play
music by ear on your own. So it is like using a calculator. When you use a calculator,
your arithmetic never improves. It is like driving with a sat nav, when your sat nav tells you where to go you never actually improve
your directions for yourself, and it’s also like tracing a drawing. Now when you trace, you
don’t actually improve your ability to draw,
because you always rely on the tracing paper. So it’s like all of these things, the technology removes the brain work, which prevents you from learning. And the other problem I
have with trial and error is that it forces you
to work out each song in the key of the original, because if you’re playing along to the original recording, you’ll end up with a load of different songs in a load of different keys and it will be very
hard, almost impossible, for you to notice the recurring patterns, the recurring seven notes,
the recurring six chords being used over and over again. So that’s the other problem
I have with trial and error, is that it prevents you from playing all songs in the same key. So the most effective
way to play songs by ear is a three step process:
listen, think, check. The first two steps are
the most important part. Listen to the song as
many times as you need, and think long and hard
about the notes and chords that you are hearing, the bass line, and you come up with a theory
about what you’re hearing and you don’t approach your instrument until you have a complete
idea of the melody and chords. You don’t wanna be
sitting at your instrument doing trial and error, and
if you study ear training and university or music
college, it’s the same setup. So, it’s the thinking stage, when you have a ear training exam or even ear training practice, they don’t give you your instrument and say, figure this out. There’s no benefit to that. What they will do,
they’ll have the teacher play an excerpt on the
piano several times, you’ll come up with theories in your head, you’ll write down your
answer, melody and chords, and finally, the teacher will write the correct answer on the board. And even if you get the wrong answer, you have still improved because
you learn from your mistakes and the longer you are thinking, the longer you are improving your ear. So, don’t waste time playing
music by trial and error, instead play music using
listen, think, check. (dramatic piano music) So here is comment two,
this is when I was comparing relative pitch and perfect
pitch with one another and I said relative pitch
is equally effective as perfect pitch. – [Woman] Relative
pitch is not more useful than perfect pitch. It’s a great tool or resource
to have at your disposal, but perfect pitch is instantly knowing without any conscious effort, what note or chord is being played. Direct recognition is much
faster than relative pitch, that should be obvious to anyone, and therefore over time is more effective and will save you much more time. – Okay, so this raises a great question. This is the assumption that perfect pitch is faster than relative pitch. Now, in the early days, when you’re first learning relative pitch, sure it takes a lot longer, as
I said in the last question, you have to think and
it takes time to think, but when you’ve mastered
your relative pitch, it’s as instant, you instantly know that is the major third,
that is the minor seventh, that is the fifth, that is the two chord, that is the five chord. You instantly know it, and it
requires no conscious effort once you’ve learnt it. In fact, I can’t help but notice that is the minor seventh
being played in that melody, that is the minor sixth,
that is the fifth, et cetera. I can’t turn it off,
and I can’t not know it, I can’t not notice it. (piano notes) So that is the truth, once
you master relative pitch, in my case it took about a year, and then once you’ve mastered it, you cannot help but notice
those unique colors of notes and the unique color of chords. So relative pitch is just
as fast as perfect pitch. (dramatic piano music) Now the other point that I’d
like to make on this question is that there are pros
and cons to relative pitch and there are pros and
cons to perfect pitch. And in my opinion, both of them weigh out to be equally effective. Now, just to mention one of
the cons of perfect pitch is this, so the fastest way
to understand music theory and to really, fully understand it, learn the rules of music,
is to restrict your playing and your thinking to one key. Basically, constantly changing keys can be very distracting, and
it distracts you away from what’s actually important when it stops you from seeing
the recurring patterns. So only when you line up every piece and you play it one key, do you see that it’s the same seven notes
and the same six chords being used over and over again. Now, if you have perfect pitch, then you can’t help but
identify the key of every song. And obviously every different
song is in a different key. So yes, you know that that
is a B or that is an F sharp, or that note is a D
flat, but the note names are not actually the important part. The important part is which degree in the scale those notes are. Is that the minor seventh,
is that the major third, is that the fifth, and so on. And it’s not actually important that that note is an F sharp, it’s not important that
that note is a B flat. So in a way, if you have perfect pitch, you could easily be
distracted by the note names, which is all you can sort of recognize, and you won’t necessarily
learn the music theory, which is just as important. So, when you only have relative pitch, you can enjoy listening to every song as though it’s in the same key, and you’re not being distracted
by the literal note names, which are not the important part. So, that’s just one
example of one of the pros of relative pitch, and
the cons of perfect pitch. If you found this video useful, I’d really appreciate a thumbs up. Make sure you don’t miss
out on future videos by subscribing to my channel. And I just posted episode
one from my complete ear training course, which
will be free to watch for a limited time, just click on the link in the description box
to watch that lesson now. I’m Julian Bradley, thank you for watching and I look forward to seeing you at the musical ear dot com. (dramatic music)

Reynold King

98 Replies to “👂 HOW TO TRAIN YOUR EAR 👂 Ear training lesson for musicians”

  1. Can you upload a video about how to practice relative pitch? Techniques on how to learn it and what tools to use?

  2. Here is another point that I think is worth considering:

    There is no such thing as absolute pitch. All musical tones are relative firstly to whatever pitch standard is being used and secondly to temperament. The frequencies of musical notes are variable and have varied throughout time and across locations within in the same time period. Relative pitch is of far greater use to a musician as intervals can be recognized no matter what the exact frequencies of the notes may be. 

  3. From what I hear, some people with absolute pitch hate it because they can't listen to songs transposed to different keys because they can't stop thinking about how wrong it is. Also, stuff like intonation needs to be perfect on a guitar. It seems exhausting.

  4. Thank you Julian.  Another video that is beautifully done, and easy to understand.  You really are a wonderful teacher.  I'm glad your young, I hope to be working with your video's and online books for a long time to come.

  5. Does relative pitch mean only changing key like from G# minor to F# minor or it also means changing scales/modes like G# minor to G# pentatonic, G#blues and so on all on G#.

  6. Absolutely loving this course. I'm already in just a few days feeling to get the hang of things and I'm definitely all in and extremely excited to see where this takes me. Very much worth the money. This man REALLY puts on a good presentation and cares about his customers. I can tell much effort went into this. Bravo.  #themusicalear   #julianbradley   #jazztutorial  

  7. I think it is interesting that you talk about the unique colours of notes and chords. Are you sure that's is something everyone will experience when mastering relative pitch, or is it possible that you have synesthesia like e.g. Ligeti and Ellington?

    "I hear a note by one of the fellows in the band and it’s one color. I hear the same note played by someone else and it’s a different color" – Duke Ellington.

    "Major chords are red or pink, minor chords are somewhere between green and brown." – György Ligeti

  8. I agree with the listen think concept.

    All my advanced piano covers on my channel is played by ear, listening to the original, and then using my skill I already have to make it more harder and fancy, almost like an improvisation etc.

    I will also agree trial and error is a waste of time, playing by ear properly, I can whip out a completely new song within 20 minutes.

  9. I still partly disagree with the part about "trial and error" being useless. The method you suggest is great but another skill that one has to develop is to have "instant touch", meaning the ability to immediately react and fit in to any musical context. When you are playing along with recordings you start to get better at that after a while, at the beginning you're just rewinding and trying out 12 chords which is indeed not very helpful but later you will be able to pick up what's going on very quickly without having to intellectually break it down into intervals and chords and then put it back together. With enough "trial and error" you're hands just "know" how to reproduce the sound you're hearing. Much like what you described as what it's like to have very good relative pitch, where you don't have to consciously think about it anymore.

    It's actually the same process as "listen-think-check" but instantaneous. Much like the difference between improvisation and composition. And I think it's a good idea to practice both. The goal of ear training is to think in sounds and play exactly what you are thinking, and playing along to recordings helps to force your brain to work more efficiently and quickly in that regard while the more slow method teaches it to be more exact. They complement eachother very nicely. 😉

  10. Great video Julian, as always.

    I just have one quick question: I have been developing relative pitch for a while now, and it works wonders, but how do I distinguish which one is the tonic? In the visualization example of relative pitch that you put in this video you signaled a 3-7-1……etc. In my case I would assume that the first note is the tonic and make a 1-5-6……etc. What do you listen to in order to highlight the tonic and be able to distinguish it? In would you have to adapt that reference to all other chord changes?

    Thanks you very much for sharing. Will get a piece of that ear training course of yours.

  11. Interesting. How does always playing in the same key work with major and minor? Wd you, for example, always use Cmajor and Cminor? S

  12. Fantastic reply on perfect pitch.
    One note by itself says little until the next note creates a relationship
    That;s what relative pitch recognizes. A perfect pitch person still has to learn the
    relationships in harmony as they remain regardless of key

  13. Hi Julian, I agree that playing in a one key you have the advantage of playing on only seven notes and have only six basic chords. But in reality many pop music using secondary dominants, tritone substitutions, exchanges between major and minor modes. Your comments may be only a starting point of a method. Sooner or later you will have to teach how to recognize the light key changes between major and minor modes. For your experience how long it takes students to learn this skill? Thank You in advance.

  14. I used to chart songs with number notations for the melodies, it is very helpful to practice relative pitch ear training and also to practice playing in all keys

  15. I've bought the "themusicalear" online course and I can't access my lessons. I've tried to contact you on a couple email addresses but one is bouncing all my emails and the others haven't been replied to.

    Please Let me know how can I reach you!

  16. Ah! I wish you were around 30 years ago! I always played by ear but was condemned by the purist readers. I've always looked for the patterns in the music I hear.

  17. I developed my playing by ear skill when I was a teenager by trail and error. I could easily play out the melody without any training so I assume most people can do that. The only thing I need is finding out chords. I played all songs in C, and I try all the Major/Minor chords until I find the correct one that fits the melody. The more I tried the less attempts I need to get the correct chords. Soon I realize the many songs follow the same sequence of chords (this is the advantage of playing all songs in the same key), which later I find out it is called progression, and it further increases the speed of me finding out chords. Now I can tell (degrees of) chords instantly when listening to a new piece music. In my opinion experimenting is an essential part of ear training. I can't imagine any beginner can just think, then play a piece by ear on their first attempt.

  18. Trial and Error works man… ive done it my whole life.   Everything you do, you are using your brain and learning more. 

    i was given a very similar statement in elementary school, that i couldn't learn my own way.

    It was bull. I believe Trial And Error is never ever a waste of time, The way we as humans learn, is greatly reliant on our problem solving skills, i dont think being a good problem solver and knowing your way around piano keys by trial and error, will in anyways inhibit you.

    That's just my take on this.

  19. Great video.  I've always used trial and error and have been disappointed that after so many years my ears are not that good.  They've improved but not as much I would like.  You've given me another approach to try.  I do sometimes play "real time." Figuring out a song I don't know as it plays on the radio.  Sometimes I do better at than than anything.  Once you've got your 1, 4 and 5, you've got most of the song.

  20. Very good response to the relative vs perfect pitch arguments. I would add two more points which are, perhaps too obvious to be useful. First, the argument is futile if one cannot develop perfect pitch. It is only a way for one who has perfect pitch to feel superior, probably incorrectly.  And second, what happens when someone with perfect pitch sits through a performance in which the instruments are tuned well with respect to each other,but not to A=440? Is it agonizing?

  21. I tried out this method of learning by ear today. I've been learning a simple Bach prelude by ear (on electric guitar), but up until now I've been using purely trial and error to figure out the notes. I purposefully didn't look at the sheet music so I would be forced to learn it by ear. But it turns out I haven't really been learning it by ear as such! I've been using my knowledge of my instrument as a crutch. I didn't realise the difference until you pointed it out! Today I tried figuring out a few bars that I haven't learned yet by ear. It was quite challenging but I felt that I was really putting my ears to the test. All those hours spent doing ear training for music college finally felt like they were useful in a practical situation. I only touched my guitar after I had written down what I thought were the next notes. I was then able to listen back and hear where I made mistakes, and then I was able to recognise more difficult intervals within the music! Thanks for the great videos man! Much appreciated. 🙂

  22. You can have perfect pitch and still a just as decent sense of relativity right?
    I want to get relative down first, which is confirmed by your arguments 🙂

  23. In relative pitch modulations are like surprises which last a second or two and have a powerful musical effect. Wonder what modulations sound to someone with perfect pitch?

  24. @jazztutorial 
     
    Hey Julian, I've been studying piano for a few years, and never seen such a method. Nevertheless, I identify completely and it's exciting to hear such a voice in the music education world, so thanks. I wanted to ask about the first episode you uploaded – I did not fully understand your argument concerning playing for 4 months or so in the same key. I have a daily practice agenda, progressing in different classic and jazz pieces. Do you suugest I let go my Beethoven (for example) note sheets completely and devote my daily practice to trying to play Beethoven through correct ear training and not read it from the note sheets? Is there any value in reading notes?
    Thanks again.

  25. The whole thing's good but at 6:55 you REALLY nail what it's all about.  It's not the names of individual notes, it's hearing the overall uniform structure that puts you in the driver's seat.  Also, when reading music, deciphering the notes with perfect pitch seems unduly cumbersome.  With relative pitch, I can look at any piece in any key and instantly know how it goes in my head.

  26. Thanks for all your helpful and great videos! I studied as a minor jazz piano and i m a jazzsinger. I wont to develop my self by playing the piano but not get ahead. What for a practicing concept do i need for have more focus? Is there already a video about this subject?

  27. Trial and error vs arithmetic theory study is to me analogous to graphics processing vs general processing. One does not negate the need for the other. To give a simple example, I don't count in 3,4,5,6 or 7 when I'm playing in 3/4, 4/4, 5/4, 6/8 or 7/8 I just play the space and make it sound good. If I'm having trouble, I count it out. I use the same approach to scales. First I listen and play, then if I need help I do the math. If I'm improving I save the math side for when I'm fresh out of ideas.

     I get most of my hours from trial and error, and I'm a pretty decent amateur trumpet player – at least I'm told that I am by laymen, self taught pros and music grads. I think that pianists often take for granted the ease of intonation, transposition and articulation of their instrument. Many instruments have a higher barrier to entry when it comes to simple things like long tones. Brass and vocals come to mind as instruments with limited range and a large barrier to good intonation. It is this very difficulty that gives these instruments their beautiful characterization of the notes they are playing.  Step one for me is playing something simple that sounds good. Step two is the adding and removal of complexity. I'd probably look at it differently if I played a midi instrument. 

    This conversation is not new. It goes back far further than the mostly illiterate jazz jams of 50 or 100 years ago. I imagine it goes back to the dawn of music notation. Of course, music itself predated music notation and with the invention of notation surely came advancements that were found from the exploration of the notation itself. Surely chordal structures and combinations that would have sounded "wrong" by the illiterate player were explored through this new found literacy/numeracy. Literacy is good, great even, but not required in order to have a conversation. Learn to say something first, then "check the math."

  28. Btw why does the pitch demonstration starting at 6 min have the numbers shifted? What is shown as"3" is actually a perfect fifth, "1" is a minor third, etc 🙂

  29. I was wondering if you could explain more about what you mean by "restricting yourself to a single key" when developing relative pitch.

  30. I'm just starting to do some ear training on another site, but I'm considering switching. It looks like you use a numbering system? I want to continue developing my new knowledge of solfege. Do you think that would still be appropriate in your training or is there some advantage to switching to numbers?

  31. Number System and Harmonic Intervals / Chord Progressions Identification thru thinking 1st IS THE TRUE/CRITICAL KEY …,I agree with my friend / prof. Julian.

    Excellently answered arguments .

  32. Hi Julian, and thank you for a very interesting video. I also watched the previous one to which you were answering questions in this feature. I can see what you are saying, and from a certain perspective it does make total sense, but I cannot say that I completely agree, from an initial stand point that is. However, I am sure that if it were discussed in any length, a stage of equillibrium could be achieved between differing points of view; or I may just comprehend exactly what you say and agree. Who knows?
    Anyway, thanks for a wonderful lesson.

  33. yes, I agree, it is not the identification of notes perse but its relation on a particular song, its degree, its meaning related to the theme, its role in the play so to speak, great videos you've helped me so much, thank you. Ched Baker forever.

  34. Good video agree with all your points on relative pitch super important to get an understanding of it if your by ear or by the books type player. I always referred to relative pitch as the A, B, C building blocks of music sound as it relates to other sounds in a given key.

    I do how ever disagree 100% with your view on musical exploration and experimentation both trains of thought have their equally beneficial side effects. Relative pitch gives you a literal understanding of the constructs of music. Learning to do this in conjunction with your instrument gives you the best tools to apply that knowledge to your own playing and to transcribing increasingly complex music without access to the actual sheet music.

    Also your comments on perfect pitch are just jealousy based and opinion based. I have been training my ears for 28 years you saying you mastered it in one is ridiculous. My good friend Greg has perfect pitch i how ever do not i do have very excellent relative pitch… The music my friend Greg can transcribe vs the music i can transcribe with out using our instruments is like night and day. He can almost note for note transcribe things. I can usually get pretty close but i have a very high tendency to hear the notes more flat than they are.

  35. I disagree about the trial and error thing, I personally think it works because your brain is recieving constant feedback, like that was a bit sharp or that was too flat. Dismissing the wrong notes and searching for the one u hear in ur head is great interval training.

  36. A simple music game on android, challenge your music talent, challenge your friends, enjoy it. It is very hard to get a high score.
    https://play.google.com/store/apps/details?id=com.sanyang.whatnote

  37. I really liked your explanation of relative pitch. It's really encouraging to know that it's a skill that can be developed by anyone with enough listening and thinking.

  38. Re: ear training, perfect pitch and relative pitch: spot on. Though classically trained early, when learning "by ear" I didn't realize I was in reality, performing trial and error. Your approach explains why I was mystified that I often made more "real" progress when I took extended breaks from playing but NOT breaks from listening/analyzing. Also, in my opinion, perfect pitch often amounts to a parlor trick. And I agree it's distracting, nowhere near as useful as being able to hear an interval without thinking.

  39. Thank you for your discussion on perfect and relative pitch. I an into this some 40 years ago when I was in high school. We always wanted people with perfect pitch to scatter around the choir to keep us all on track. I can see from your description of the two why relative pitch works the way it does. I will be working on this concept now.

  40. Now I realise what I've been doing wrong all along.. I've been doing trial and error and it's always a struggle… I will give Listen, Think and Check a go and see if it works for me… My job is to create re-worked cover versions of popular songs and if I can master this approach to recognition and learning it will be enormously helpful. Thankyou for your interesting videos.

  41. I think the same way about relative pitch…i don't know much about western music theory but i use Indian classical notation by knowing base pitch and relative distance of notes…i would like to watch your rest of the videos…good work..

  42. Loved this video, im a trial and error musician and it really felt wrong, something about guessing felt unprofessional and unnatural, now i hear it from you with such an explanation and im sure i must try it like you said, im not very sure how to do it though, i mean, like i pick a song then listen to it, i analyse, think and the confirm but what if i get it wrong?? would retrying make it trial and error?? or should move on to another sequence, i'd really appreciate your help

  43. Really interesting.  Rock guitar player here and I've been looking for a good ear training class.  This is very interesting.  Great approach

  44. I really appreciate your insight on everything. It has given me much help with my frustration in learning to play by ear. This is awesome!

  45. Very bloody good, on all levels, love the graphics, the clarity and graciousness of explanation, taking care of all learning styles, really interesting discussions and interactivity. Thank you so much, my pleasure to provide feedback and thumbs up and I never normally feel that way. 😀 X

  46. I want to know if the perfect pitch is hidden or it comes up spontaneously when you start to learn music theory….

  47. I love this! It is a clear overview of truly 12 patterns. ANd by trail and error I figured out that it really isn't about the key your're in.
    I find this way more efficient. I do have a perhaps, silly question, but I would guess that if I picked my "KEY" of practice was to be a blue scale, say G Blues, should still work! Right?

  48. Seasoned musician often have a bias for relative pitch. Based on their years or decades of experience they surely can "hear" any relative tone etc. I personally started with Bruce Arnold's approach which dismisses interval based ear training altogether. Recently acquired Ear Training Companion software which teaches both the Absolute Pitch and Relative Pitch nicely complementing Arnold's approach. There are so many ear training systems. It would be really great if someone compares and contrasts all these various ear training systems out there. Ultimately as one attains greater mastery of music theory, with associated practice on various music instruments, one's capability to hear, recognize and transcribe music increases proportionally regardless of which system one used initially to train his/her ears. Off course some systems get you there faster than others.

  49. I am playing accordion, for begginer, and it's a bit hard to play both hand, and than identify tha bass for the notes what you are playing, how do you do it?

  50. What about singing with the music? Does the voice count as "your instrument"? For example, I'm transcribing a song and I sing the bass but I'm not sure whether the interval is a fourth or a fifth, can I sing the scale to find it or do I need to think my way through it before checking; if so how long should I wait before checking?

  51. Great insight, Jules. I'm going to start the practice of transcribing tunes back to The key of C to better recognize the patterns and notes.
    I'm really stoked about improving my ear! Thanks!!

  52. I tried to follow link for free 4 ear training video , each time when I would click to watch the 1st video it sent me back to original page. I'd try again with same results

  53. This idea of "listen, think, check" is ground breaking for me. Now I know what I have been doing wrong. Thank you so much for this video, Julian!

  54. I would bet everybody who listens to this video and is interested in learning how to play by ear, would have the same questions, I know I did, so your answers were extremely clarifying and helpful.

  55. Thanks a ton !! I was approaching ear training completely wrong for more than 2 years and your videos opened my eyes . Thanks a lot !!

  56. Perfect pitch is also a bit tricky if you are singing with a Baroque orchestra, because they play a semitone down from concert pitch.

  57. This is an amazing and inspirational video. I started being able to play more advanced jazz pieces, but my relative pitch is way behind compared to my understanding of the theory. Your suggestions, especially about playing everything you hear in a single key, will really help me. Also it's good to know that it took you a whole year to get these skills nailed.

  58. This afternoon, I had my 1st lesson in how to improvise in jazz, and my teacher wa trying to tell me exactly what you’re saying. I need to develop my ear & sing the note. I can’t wait for your 1st ear training lesson. Thank you for posting!

  59. Neumim anglicky, pisu v cestine. Se vsim, co zde bylo receno, souhlasim do posledniho pismenka. A to proto, ze jako muzikant – amater jsem se vyvijel a ucil premyslet o harmonii presne podle myslenek sdelenych ve videu. Akorat bez pomoci odbornika, musel jsem si na tyto logicke uvahy a souvislosti prijit sam. Je fakt, ze delani hudby podle mustru – napr. metodou pokus – omyl muze prinest urcite vysledky v podobe hudebnich napadu, ale nenuti to cloveka k premysleni a v podstate clovek ani nerozumi tomu , co sam vytvoril. Muj slogan je, hudba se tvori v hlave, ne v prstech. Prsty uz jsou jenom podruzna vec.
    http://harmonie.pa.sweb.cz/

  60. I discovered that I had perfect pitch within months of learning to play the piano, but I could only really master improvising once I had relative pitch.

  61. The opposite of “relative” is “absolute”. Your pitch can be perfect without being absolute, and your pitch can be absolute without being perfect.

  62. Your logical, structured approach is a great fit for these instructional videos. I have to say, everyone comes to music differently. My ear training started at my grandma's house at 4 years old , she had an organ and I would pick out the melodies I heard on the radio or television. When I went to school,the first grade teacher was the music teacher as well, by 2nd grade she put me on a trombone. Around puberty I learned the guitar in one year, after school with a '45' player, by 9th grade we had 'the rubber band' and were playing school dances. Skip ahead 50 years
    Anyway I am now 66 years old (30 years of work in television and radio and raising a family) now and play a 'fine dining restaurant' 5 nights a week. So thank you for your insight, you can learn something from everyone, even though you are young, you have a masters degree and a clear teaching style. You will never lack, there are so few 'cocktail piano players, that you can write your own ticket…if there is tourism, there'll be a gig.
    Best of luck to you.

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