Part 2 of Season 4 Episode 2: A Team of A Seat at the Piano

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So, A Seat at the Piano is essentially a platform to raise the voices of a lot of composers
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who have been less heard or historically excluded or underrepresented.
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So, it is a database, it is a resource, it's a blog, it's kind of a lot of different things
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that we've combined into one kind of a one-stop shop for a lot of pianists, teachers, students
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to go to if they're seeking different kinds of repertoire that are outside of the normal
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kind of canon.
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The mission of ASAP is to promote and include the music of composers that hasn't necessarily
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been in the forefront, you know.
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So, basically we're trying to catch up with the inclusion of works of piano music from
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composers from historically excluded groups.
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Hello piano enthusiasts, you're tuned into the PianoPod with me, Yukimi San.
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We're diving into part two of this season's second episode with the brilliant minds behind
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A Seat at the Piano, aka ASAP, Annie Zhang, Brendan Jaclyn, Evan Hines, and Susan Yang.
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If you missed our intriguing conversation in part one where we explored ASAP's mission
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and how they support fellow classical pianists and educators, make sure to catch up on your
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go-to podcast platform.
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A warm welcome to our new listeners and viewers.
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This podcast is your all-access pass to the captivating world of piano.
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In each episode of the PianoPod, I interview a guest speaker, or for this case, guest speakers
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who have been breaking exciting new ground in the music industry.
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Please rate the show and review it on your favorite podcasting platform because every
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rating review will help people find my show.
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So dear friends, here is part two of the PianoPod's season four, episode two, with the team of
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A Seat at the Piano.
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Please enjoy the show.
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You know, since the summer of 2020, you've been working on this, so it's been over three
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years, right?
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For me, it's the same thing.
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This is the fourth season, so I am very grateful for this opportunity.
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So what's been like?
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What's the impact of ASAP in our industry, in our community that you started to feel
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after three, four years?
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Brendan?
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This will be a little egotistical.
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It's okay.
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One of my favorite things to do every once in a while is I just Google a seat at the
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piano just to sort of see what else is out there.
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And it's really neat how many different universities and organizations and competitions have just
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started listing us as a resource, and we had no idea.
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And like every couple of months, I'll just do a check just out of curiosity, and there's
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always a few more that have added us.
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And so I think just even that sort of growth with these institutions of various types offering
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these very different resources for people, I think, does show that it is having an impact
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through that way at the very least.
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Maybe Brendan can correct me if I'm wrong, but our website gets about, on average, 1,000
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unique visitors a month.
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Yeah, we're between 1,000 to 1,500 unique visitors a month right now, which has grown.
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I believe the first month our website, I remember it took about four months to break 100.
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And so this is a pretty good growth.
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I feel like we're also seeing the change amongst local and national state organizations, whether
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or not they have performance festivals.
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And a lot of these organizations will have required repertoire that students have to
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pick from when they're doing these festivals and seeing that they're also utilizing our
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database and adding more diverse works.
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What we've noticed a lot is that if you don't require it, sometimes people aren't really
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going to do it.
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And sure, we'd like to say that we don't need those kinds of requirements, but unless people
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are at least exposed to it in a certain kind of way and in this way by requiring certain
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repertoire for competitions or festivals, that really ensures and guarantees that people
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are at least listening to it or learning it.
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And that's a really, really great start.
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So even my own studio, my students at my university at University of North Carolina at Greensboro,
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my students have to learn at least one of their pieces each semester is of a non-traditional
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composer either of a genre or of a different background.
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And I've found that students actually are very excited about this, maybe a little bit
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hesitant at first, but then they're really, really excited.
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Now, Susan is doing a bit of this as well, and all of us are just encouraging our students
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and those around us to really be exploring these works.
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And sometimes that just little slight nudge of gentle requirement is what you need to
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do.
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Yeah, yeah.
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That's exactly.
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Yes.
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Okay.
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Oh, Susan, your baby.
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Oh, so cute.
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Baby is awake.
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I guess a fun fact, I don't know if you know, but Brendan and I are married and this is
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our baby.
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Oh, really?
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Okay.
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Yeah, it's our first ASAP baby.
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ASAP baby.
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Oh, wow.
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Okay.
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So you are in a different room right now.
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He's at work and I'm at home.
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Gotcha.
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I hope your baby is okay.
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Evy's sleeping well.
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Yeah.
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Yeah, mostly.
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Yeah, mostly.
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Yes.
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Yeah.
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Wonderful.
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Now, so then since you started, did you receive any recognition or awards?
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Yes.
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We've definitely, I feel like, received a lot of attention and everything from a couple
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different organizations.
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This past March, we were given the MTNA and the Francis Clark Center have teamed up to
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give a National Pedagogy Award and we were honored enough to be given that this past
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year, which is really exciting.
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And we've been in talks with both Francis Clark Center and the Music Teachers National
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Association as well, just to sort of integrate our ideas into these big national organizations.
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And I think that is also sort of indicative of the institutional understanding of the
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importance of a project like this, which was really exciting.
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Yeah, that is very exciting and congratulations.
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I mean, double congratulations, Brandon, because you are now a father of the little baby girl
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too, but also with these awards and recognition that your organization is receiving.
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Yeah.
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Annie, you want to add something?
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I think just that we were very honored, of course, to get this award, but we were just
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kind of shocked.
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Like a lot of this work that we've done and maybe you can empathize with this of having
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started during the pandemic and getting things off the ground.
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It's like you don't really see the fruits of it until much later.
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And so we've just been kind of doing this, you know, casually for the past two and a
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half, three years now, and then all of a sudden to have all this talk about it, whether or
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not it's on the internet or now nationally through these two organizations, it was really
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kind of just jaw dropping.
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Like, oh, wow, people see what we're doing.
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I had no idea.
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Or like, you know, at these conferences and people reference us of saying like, oh yeah,
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I got this information from a seat at the piano.
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We're like, oh my God, like, this is amazing.
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So that's just been really, really lovely.
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And also the most recent NCKP National Conference for Keeber Pedagogy Conference, we were also
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featured as like a PEDx talk.
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And so Brendan was over there and he gave a really great talk about our organization
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and competitions and festivals and things like that.
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So yeah, it's really amazing to see all the work that we've done.
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Like, we really have put a lot of work into this and so much of it has just been volunteers.
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So like, we're not getting paid.
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And which, yeah.
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So to get that recognition is like, oh, that's really, that's really lovely.
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And Annie, really, really congratulations on that.
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Yeah, it's the hard work, but also I admire your passion too, right?
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Because we are all passion driven people and being able to see that, you know, visually
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in tangible way is so encouraging for not only just you guys, but also for me as well
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to hear that wonderful news about your organization.
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So throughout this journey, what did you gain and what important life lesson did you experience
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from building this organization?
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For me, it's been a really amazing experience doing this podcast, being able to meet you
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guys.
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Otherwise, there's, you know, I would never have, right?
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In a virtual way like this.
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And eventually I would love to meet you in person too.
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But what sort of important life lesson did you receive by building this organization?
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I think for me, an important lesson I've learned is focus on the quality and progress, not
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success.
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So you know, earlier when you were asking us, oh, how are you achieving your mission?
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But I'm thinking, I'm thinking, well, I don't know if we're ever going to be completely
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achieving our mission.
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This is like, it's about the process.
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It's not about the end goal.
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And I don't even know what the end goal is going to look like.
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Yeah, for me, you know, and like Annie said, we did three years of this work and then we
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finally got recognized.
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Not that we were looking for this recognition, but it's about our passion.
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It's about what we're trying to do instead of seeing like an achievement and accomplishment.
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So I think that's been the biggest lesson.
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I'm sorry.
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I'll end with that.
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Okay, thank you.
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She is agreeing with you.
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She's like, amen.
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Annie?
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Yeah, I love that, Susan.
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Yeah, I think process is everything.
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And like our process, even with this project, it goes in ebbs and flows.
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Like I think one of the big things that we've realized as a group and as a team is that,
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you know, we don't have the luxury of time that we had during the pandemic.
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Of course, there are lots of other things that we had to be occupied with as well, but
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we really were able to devote a lot of time to researching and adding to this database.
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We all have full time jobs or being a doctoral student.
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And you know, it's busy.
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And so having to fit this in, we do as much as we can.
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And so like the little bits of progress that we're able to make either with this, with
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the research that we're doing or how much we're able to share is I think the little
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successes that we can celebrate.
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Something I really have learned a lot is just like how much passion and curiosity can drive
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people.
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And so just in sharing some of these works with my students, like a lot of my students,
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they have never even traveled outside of the state of North Carolina.
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And so by sharing these kinds of works, it's able to enhance their perspective of the diversity
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of the world through music.
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And that's a really kind of incredible thing that we're able to do as musicians and artists.
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And you know, like anyone is capable of making this kind of change.
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We say this all the time.
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It's just a matter about doing the work.
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You've got to show up and you've got to do the work.
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And just being excited to share that with others.
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A lot of times we've talked a lot about vulnerability.
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And when we started this, like, oh my goodness, are we even the right people to be doing this
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kind of work?
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And it's uncomfortable at times.
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But I think as long as we continue doing it and to be passionate about it and to see how
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fulfilling it is in going through this process, it's worth doing it.
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Amen with that.
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You have no idea how many times it's like, what am I doing?
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But then, you know, it's a passion that drives, right?
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Yes.
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Yes.
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Totally agree.
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Now let's go a little deeper into our conversations.
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Now it's a little bit more philosophical question.
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So what is your thought on keeping classical music relevant and industry thriving in this
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fast paced society?
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You know, we hear, oh, I live in this, you know, sports oriented town and nobody cares
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about music.
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And to encourage my students to continue piano lessons is just so difficult.
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I hear sometimes like this.
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Or you know, I live in a really big city where everybody is so busy and just to have one
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focus on one instrument really sometimes seems so impossible.
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So what is your thought on that?
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Wow.
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Did I catch you off guard?
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No, it's just like, it's so, it's, it's hard, right?
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We all have our own lives.
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We all have, you know, just like things to do.
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Who am I to be telling you what to do?
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Right?
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However, I think what's more important is that every little bit counts.
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I just think the more that we remain just ambassadors for this kind of work, you never,
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you never know what little thing you might say to someone that can totally change the,
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it sounds so dramatic, but like the literally the trajectory of their life, you know, like
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I think of back when I was an undergrad, all it took was one conversation to sort of completely
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change my direction in music.
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I think also be willing to kind of have to talk to people.
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I think for a long time, I've been the kind of person that I'm a, I would say rather reserved
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individual.
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So a lot of the time I'll say, well, I'll let my work speak for itself or like, I love
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being especially a collaborative pianist because I'm like not the only one on stage.
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Sometimes yeah, all it takes is one little conversation to really, to make a lasting
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change in someone.
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And that one person knows a whole different set of people, right?
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So it's overwhelming, as it looks.
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Yeah, we are more affected than we might think sometimes.
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What is your thought on our duty or gift as classical musicians to society at large?
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I mean, part of it is, I think the joy and the hardest thing, I think, as well as about
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being like any type of artist, musician, you know, actor, whatever, is that I think the
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best thing you can do is just be sort of true to yourself when you're doing your art, whatever
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that might look like.
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I don't personally, I don't know if I have a, would describe it as a duty to an audience
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because I think it's more of a duty to your own artistic integrity and just kind of like
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looking at it that way.
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And then people might like it and people might not.
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And that's okay, you know.
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And then the other thing is just to realize that like, there's so much more out there
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as well and just to be constantly exploring new things.
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So right now, I am not by any means a jazz musician.
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My dad is.
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And I can do some basic stuff, but I have a lot of students at Fisk right now who want
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to study piano and they want to learn to improvise.
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And this is new for me to do, even though I've listened to jazz my whole life.
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And so I think part of my sort of shifting identity as an artist and sort of what I'm
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doing right now is I'm also just reacting to the needs of the community and I'm like
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studying how to improvise right now.
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And so that way I can be a more effective teacher.
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And I don't know if I'll ever be what I would consider as a good improviser, but I think
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that sort of reflection of you have to present yourself and you have to sort of react to
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your community.
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That sort of duality of being an artist is really important to hold on to as you're sort
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of going through this work.
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Yeah, I agree.
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So now next question would be, what sort of innovative approaches can classical musicians
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employ to connect with contemporary audiences?
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I mean, I think that audiences today are very different from audiences that we've had a
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hundred years ago.
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We have shorter attention spans.
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We are all about our devices and phones and scrolling, endless content, yet never exactly
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do they want endless classical music concerts.
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And so I think that the interacting with our modern day audience today is all just about
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engagement and how to make it either having a really thoughtful and genuine theme or idea
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that you're trying to convey through performance.
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I think a lot of times, especially young students get into that mindset of I program a recital
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to hit all the check boxes that I have to play for my recital jury, you know, your Baroque
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piece, classical, romantic, contemporary.
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00:19:05,680 --> 00:19:12,400
But there are more creative ways, I think, to program, whether or not that's thematic
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or whether or not that's based on a genre or some kind of idea, a quote that inspires
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something.
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I do find like visual elements, sometimes they can be extremely helpful, sometimes not.
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But you know, if it's done well, it's done effectively.
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I think it can be very, very engaging.
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Or I've had friends who've done concerts that have apps that go along with the concert
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with like live time kind of program notes.
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So you know, I think of sportscasters all the time, like if when they were watching
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sports and they like tell you detail by detail, I do not really understand sports.
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So like, I appreciate that a lot.
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So if someone was doing that for me and listening to classical music, that's fantastic.
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That's great.
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Or having like interactive things.
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I've done some concerts where I've had people like write down words through also an app
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and it gets projected onto a screen.
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And so people get to share their ideas and create a word bubble of, you know, the way
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it's like kind of anonymously too, which is nice because you don't have to like speak
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out loud of what does this piece make you think of?
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How does it make you feel?
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Maybe like putting up an image or a video that also kind of accompanies a piece.
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00:20:25,160 --> 00:20:31,680
I think that we, especially as pianists, we tend to be very kind of solitary in the ways
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that we work.
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But the more that we're able to collaborate, whether or not that's with other people or
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other terms of media, that's always going to be, I think, a lot more effective.
318
00:20:41,720 --> 00:20:45,240
And of course, like, yeah, we wish like the music could just speak for itself, like kind
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00:20:45,240 --> 00:20:48,480
of, you know, we do art for art's sake.
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But I think that's kind of just it's a romanticized kind of way to think about how we operate
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as musicians and artists today.
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And we need to do a little bit more.
323
00:20:58,800 --> 00:20:59,800
Right.
324
00:20:59,800 --> 00:21:00,800
Absolutely.
325
00:21:00,800 --> 00:21:01,800
I agree with you.
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Hey there, TPP family.
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00:21:03,440 --> 00:21:09,080
The piano part is now into our fourth season and it's all thanks to you.
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00:21:09,080 --> 00:21:14,560
Since 2020, you've been with my journey with the TPP, exploring this burning question.
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00:21:14,560 --> 00:21:20,240
How do we make classical music resonate with today's audience in fresh and captivating
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00:21:20,240 --> 00:21:21,240
ways?
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00:21:21,240 --> 00:21:25,040
Four years in and the journey has been nothing short of magical.
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00:21:25,040 --> 00:21:30,880
The piano part isn't just a podcast, it's a movement, a space where pianists, composers
333
00:21:30,880 --> 00:21:37,120
and educators brainstorm, debate and reimagine classical music's place in our fast paced
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00:21:37,120 --> 00:21:38,120
world.
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00:21:38,120 --> 00:21:43,680
We're together on a mission to ensure classical music doesn't just survive, but thrives
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00:21:43,680 --> 00:21:45,120
in our modern age.
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00:21:45,120 --> 00:21:46,120
But here's the thing.
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00:21:46,120 --> 00:21:51,680
To keep bringing you these insightful bi-weekly episodes, I need your help.
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00:21:51,680 --> 00:21:57,520
Every bit of support goes into the podcast essentials from hosting to high quality recording
340
00:21:57,520 --> 00:22:01,240
tech and the countless hours behind the scenes.
341
00:22:01,240 --> 00:22:03,560
So do you want to be part of this journey?
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00:22:03,560 --> 00:22:08,640
Click the PayPal link in the show notes or head to the pianopod.com to donate.
343
00:22:08,640 --> 00:22:16,680
And as a token of appreciation, I will personally mail you the Pianopause snazzy logo sticker.
344
00:22:16,680 --> 00:22:22,160
So hit the subscribe button, spread the word and let's continue our mission and journey
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00:22:22,160 --> 00:22:24,380
as classical musicians.
346
00:22:24,380 --> 00:22:27,440
Now let's continue with the show.
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00:22:27,440 --> 00:22:32,160
What's the next phase and short term goal of ASAP?
348
00:22:32,160 --> 00:22:37,740
So we have a couple of things on the docket that we want to get to.
349
00:22:37,740 --> 00:22:44,840
One is the anthologies that Annie mentioned previously, which would be just exciting for
350
00:22:44,840 --> 00:22:47,720
us to figure out how publishing works.
351
00:22:47,720 --> 00:22:53,820
And also more importantly, serves as a tangible resource based on our database that just makes
352
00:22:53,820 --> 00:22:55,980
finding this music even easier.
353
00:22:55,980 --> 00:23:01,520
And then we do want to expand the types of music in our database.
354
00:23:01,520 --> 00:23:08,960
And so we are hoping to build up our data on works for piano forehands or for piano
355
00:23:08,960 --> 00:23:14,660
chamber, including two piano works and then piano with other instruments to sort of keep
356
00:23:14,660 --> 00:23:18,120
expanding what we can that way.
357
00:23:18,120 --> 00:23:24,160
And I know those are two big things that we want to sort of work towards in the future.
358
00:23:24,160 --> 00:23:25,160
Wonderful.
359
00:23:25,160 --> 00:23:27,760
So the last question is any advice?
360
00:23:27,760 --> 00:23:35,720
This is just from the perspective as you being the music teachers, piano teachers, but any
361
00:23:35,720 --> 00:23:38,040
advice for young musicians?
362
00:23:38,040 --> 00:23:41,040
We all work with students every single day.
363
00:23:41,040 --> 00:23:48,800
And there are moments when I'm teaching where I like to think of myself as being optimistic,
364
00:23:48,800 --> 00:23:53,340
but it's very easy to think like, oh, being a musician is really hard.
365
00:23:53,340 --> 00:23:56,100
Like what am I preparing you actually for?
366
00:23:56,100 --> 00:24:00,120
What kind of career are you looking for after this?
367
00:24:00,120 --> 00:24:05,360
And the only thing that kind of helps me to keep going, and I like to think that it's
368
00:24:05,360 --> 00:24:15,440
the same for students, is that they are pursuing these interests for curiosity, for enjoyment,
369
00:24:15,440 --> 00:24:17,240
and also for hope.
370
00:24:17,240 --> 00:24:22,600
Because I think a lot about the Brazilian pedagogue, Paul Freire, he wrote this book,
371
00:24:22,600 --> 00:24:24,200
Pedagogy of Hope.
372
00:24:24,200 --> 00:24:30,520
And he says something along the lines of like, there's no change without a dream, just as
373
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there is no dream without hope.
374
00:24:32,840 --> 00:24:38,580
So if you don't have that hope and you don't have, it can be kind of abstract in any kind
375
00:24:38,580 --> 00:24:42,920
of way, but we have to have something that's driving us.
376
00:24:42,920 --> 00:24:50,280
And my hope being for them is that they're able to impact someone's life, whether or
377
00:24:50,280 --> 00:24:57,880
not it's through their music or through their interests in art in some kind of way.
378
00:24:57,880 --> 00:25:02,120
And I like to pull quotes from other people because I feel like they say it much better
379
00:25:02,120 --> 00:25:03,120
than I do.
380
00:25:03,120 --> 00:25:06,920
But like another person I think of is Brene Brown, who's just a really wonderful speaker.
381
00:25:06,920 --> 00:25:13,200
And we talk about this too within our group and our team of we're not here to be right,
382
00:25:13,200 --> 00:25:15,000
but we're here to get it right.
383
00:25:15,000 --> 00:25:21,960
And so it's all about process and the process is going to be forever going.
384
00:25:21,960 --> 00:25:26,920
You know, it's not a sprint.
385
00:25:26,920 --> 00:25:32,380
We did actually a whole presentation about this, that like our process in this is really
386
00:25:32,380 --> 00:25:36,720
an ultra marathon, the longest distance that you could go because our goal really is to
387
00:25:36,720 --> 00:25:39,080
keep on doing this for as long as we can.
388
00:25:39,080 --> 00:25:40,080
Right, right.
389
00:25:40,080 --> 00:25:41,080
Absolutely.
390
00:25:41,080 --> 00:25:42,080
Yeah.
391
00:25:42,080 --> 00:25:43,080
Yeah.
392
00:25:43,080 --> 00:25:44,080
Thank you.
393
00:25:44,080 --> 00:25:47,320
I'm going to hand this question to everybody, but time is running out, so we have to go
394
00:25:47,320 --> 00:25:48,440
to the next segment.
395
00:25:48,440 --> 00:25:53,440
But before we go, give a special mention to all the pianists and piano teachers and students
396
00:25:53,440 --> 00:25:56,760
tuning in today who might not be familiar with your organization.
397
00:25:56,760 --> 00:26:01,320
So just the last like a quick promo that you can do.
398
00:26:01,320 --> 00:26:02,320
Yeah.
399
00:26:02,320 --> 00:26:07,920
Come visit us at acetothepiano.com or visit us on social media.
400
00:26:07,920 --> 00:26:15,640
There's a lot to explore and I can promise you that you will find something that interests
401
00:26:15,640 --> 00:26:16,640
you.
402
00:26:16,640 --> 00:26:17,640
Thank you.
403
00:26:17,640 --> 00:26:22,920
So all of us can go to acetothepiano.com, right?
404
00:26:22,920 --> 00:26:23,920
Yes.
405
00:26:23,920 --> 00:26:26,920
And you can get their ASAP.
406
00:26:26,920 --> 00:26:27,920
Okay.
407
00:26:27,920 --> 00:26:28,920
Yeah.
408
00:26:28,920 --> 00:26:31,920
You get their ASAP.
409
00:26:31,920 --> 00:26:33,240
Yes.
410
00:26:33,240 --> 00:26:34,240
That was perfect.
411
00:26:34,240 --> 00:26:35,240
Great.
412
00:26:35,240 --> 00:26:39,800
This has been such a fun, inspiring conversation, everyone.
413
00:26:39,800 --> 00:26:43,240
Annie, Evan, Brendan, Susan, thank you so much for being here.
414
00:26:43,240 --> 00:26:46,240
But before I let you go, we have one more thing to do.
415
00:26:46,240 --> 00:26:49,460
So it's called the Pianopods rapid fire questions.
416
00:26:49,460 --> 00:26:54,280
And this is the part of the show where I get to ask fun questions to every one of you.
417
00:26:54,280 --> 00:26:55,400
And here's a little twist.
418
00:26:55,400 --> 00:27:01,640
As silly as these questions may sound, your answers may reveal who truly you are.
419
00:27:01,640 --> 00:27:03,380
So ready or not?
420
00:27:03,380 --> 00:27:06,520
Question number one, what is your comfort food?
421
00:27:06,520 --> 00:27:07,520
Annie.
422
00:27:07,520 --> 00:27:08,520
Tacos.
423
00:27:08,520 --> 00:27:09,520
Evan.
424
00:27:09,520 --> 00:27:10,520
Fuh.
425
00:27:10,520 --> 00:27:11,520
Okay.
426
00:27:11,520 --> 00:27:12,520
Brendan.
427
00:27:12,520 --> 00:27:13,520
Uh, ooh, chips.
428
00:27:13,520 --> 00:27:14,520
That's probably bad.
429
00:27:14,520 --> 00:27:15,520
Okay.
430
00:27:15,520 --> 00:27:16,520
Susan.
431
00:27:16,520 --> 00:27:17,520
Ice cream.
432
00:27:17,520 --> 00:27:18,520
Yes.
433
00:27:18,520 --> 00:27:19,520
How do you like your coffee, Evan?
434
00:27:19,520 --> 00:27:20,520
A little bit of soy.
435
00:27:20,520 --> 00:27:21,520
Brendan.
436
00:27:21,520 --> 00:27:22,520
A lot and black.
437
00:27:22,520 --> 00:27:23,520
Susan.
438
00:27:23,520 --> 00:27:24,520
Okay.
439
00:27:24,520 --> 00:27:25,520
So, I'm going to ask you a question.
440
00:27:25,520 --> 00:27:26,520
What is your favorite food?
441
00:27:26,520 --> 00:27:33,220
I like the
442
00:27:33,220 --> 00:27:36,400
Black sometimes with milk.
443
00:27:36,400 --> 00:27:38,400
Annie.
444
00:27:38,400 --> 00:27:39,400
Black and bold.
445
00:27:39,400 --> 00:27:40,400
Okay.
446
00:27:40,400 --> 00:27:41,400
Wow.
447
00:27:41,400 --> 00:27:42,400
All right.
448
00:27:42,400 --> 00:27:43,400
Cats or dogs, Brendan?
449
00:27:43,400 --> 00:27:44,400
Dogs.
450
00:27:44,400 --> 00:27:45,400
We have a dog.
451
00:27:45,400 --> 00:27:46,400
Okay.
452
00:27:46,400 --> 00:27:47,400
Okay.
453
00:27:47,400 --> 00:27:48,400
Annie.
454
00:27:48,400 --> 00:27:49,400
Dog.
455
00:27:49,400 --> 00:27:50,400
Dog.
456
00:27:50,400 --> 00:27:51,400
All right.
457
00:27:51,400 --> 00:27:54,400
You're your old dog people here.
458
00:27:54,400 --> 00:27:55,400
Great.
459
00:27:55,400 --> 00:27:59,440
Now, uh, summer or winter, Susan?
460
00:27:59,440 --> 00:28:00,440
Winter.
461
00:28:00,440 --> 00:28:01,440
Annie.
462
00:28:01,440 --> 00:28:02,440
Oh, definitely summer.
463
00:28:02,440 --> 00:28:03,440
Evan.
464
00:28:03,440 --> 00:28:04,440
Winter.
465
00:28:04,440 --> 00:28:05,440
Brendan.
466
00:28:05,440 --> 00:28:11,440
Uh, winter in Nashville, but summer where it's somewhere not as hot.
467
00:28:11,440 --> 00:28:12,440
Yes.
468
00:28:12,440 --> 00:28:13,440
Yes.
469
00:28:13,440 --> 00:28:14,440
Amen.
470
00:28:14,440 --> 00:28:15,440
All right.
471
00:28:15,440 --> 00:28:19,840
Now, what is your word of words to live by, Annie?
472
00:28:19,840 --> 00:28:20,840
Curiosity.
473
00:28:20,840 --> 00:28:21,840
Evan.
474
00:28:21,840 --> 00:28:24,840
Pick your battles.
475
00:28:24,840 --> 00:28:25,840
Brendan.
476
00:28:25,840 --> 00:28:31,440
Um, I guess be willing and flexible.
477
00:28:31,440 --> 00:28:32,440
Right.
478
00:28:32,440 --> 00:28:33,440
And Susan.
479
00:28:33,440 --> 00:28:34,440
Be nice.
480
00:28:34,440 --> 00:28:35,440
Okay.
481
00:28:35,440 --> 00:28:48,840
Now name one unknown composer whom you discovered through your work at ASAP and admire.
482
00:28:48,840 --> 00:28:50,840
So one unknown composer.
483
00:28:50,840 --> 00:28:52,840
Uh, start with Evan.
484
00:28:52,840 --> 00:28:56,680
Oh, I can't remember their name.
485
00:28:56,680 --> 00:29:00,440
I just felt like found their A-tubes the other day.
486
00:29:00,440 --> 00:29:01,440
Okay.
487
00:29:01,440 --> 00:29:02,440
I'll get back to you.
488
00:29:02,440 --> 00:29:03,440
So Brendan.
489
00:29:03,440 --> 00:29:07,760
I would hate to call her unknown because I think she's actually really well known except
490
00:29:07,760 --> 00:29:12,440
to me, but Sarah Kirkland Snyder is somebody that I found and love her music.
491
00:29:12,440 --> 00:29:13,440
Okay.
492
00:29:13,440 --> 00:29:14,440
Susan.
493
00:29:14,440 --> 00:29:15,440
Vyacheslav Koplovov.
494
00:29:15,440 --> 00:29:16,440
Okay.
495
00:29:16,440 --> 00:29:17,440
Oswald Russell.
496
00:29:17,440 --> 00:29:18,440
He's a Jamaican composer.
497
00:29:18,440 --> 00:29:19,440
Oh, wow.
498
00:29:19,440 --> 00:29:20,440
I need to check him up.
499
00:29:20,440 --> 00:29:21,440
See, I'm really learning.
500
00:29:21,440 --> 00:29:22,440
Evan.
501
00:29:22,440 --> 00:29:23,440
I can't remember.
502
00:29:23,440 --> 00:29:24,440
I'll say, um, I'm not sure.
503
00:29:24,440 --> 00:29:25,440
I'm not sure.
504
00:29:25,440 --> 00:29:30,440
I'm really learning, Evan.
505
00:29:30,440 --> 00:29:31,440
Okay.
506
00:29:31,440 --> 00:29:33,440
I'll say, um, Shimonovska.
507
00:29:33,440 --> 00:29:34,440
Okay.
508
00:29:34,440 --> 00:29:35,440
Great.
509
00:29:35,440 --> 00:29:36,440
Thank you.
510
00:29:36,440 --> 00:29:40,440
So name one piece in your current playlist, Brendan.
511
00:29:40,440 --> 00:29:45,440
Um, uh, Snarky Puppy's newest album.
512
00:29:45,440 --> 00:29:48,440
Uh, Entraact, I think it's called.
513
00:29:48,440 --> 00:29:49,440
Okay.
514
00:29:49,440 --> 00:29:50,440
Susan.
515
00:29:50,440 --> 00:29:53,440
Florence Price concerto.
516
00:29:53,440 --> 00:29:55,440
Wonderful.
517
00:29:55,440 --> 00:29:56,440
Annie.
518
00:29:56,440 --> 00:30:00,440
Um, Hozier's new album, Eat Your Young.
519
00:30:00,440 --> 00:30:01,440
Okay.
520
00:30:01,440 --> 00:30:02,440
Great.
521
00:30:02,440 --> 00:30:03,440
Evan.
522
00:30:03,440 --> 00:30:06,440
Uh, Mahalia's new album, IRL.
523
00:30:06,440 --> 00:30:07,440
Great.
524
00:30:07,440 --> 00:30:09,440
So now last question.
525
00:30:09,440 --> 00:30:11,440
Fill in the blank.
526
00:30:11,440 --> 00:30:13,440
Music is blank.
527
00:30:13,440 --> 00:30:14,440
Susan.
528
00:30:14,440 --> 00:30:15,440
Powerful.
529
00:30:15,440 --> 00:30:16,440
Annie.
530
00:30:16,440 --> 00:30:19,440
Music is empowering.
531
00:30:19,440 --> 00:30:20,440
Amen.
532
00:30:20,440 --> 00:30:21,440
Evan.
533
00:30:21,440 --> 00:30:24,440
Profound.
534
00:30:24,440 --> 00:30:25,440
Indeed.
535
00:30:25,440 --> 00:30:26,440
Brendan.
536
00:30:26,440 --> 00:30:29,440
Um, music is necessary.
537
00:30:29,440 --> 00:30:31,440
Ah, so good.
538
00:30:31,440 --> 00:30:32,440
Ding, ding.
539
00:30:32,440 --> 00:30:33,440
You're done.
540
00:30:33,440 --> 00:30:35,440
So you're all passed.
541
00:30:35,440 --> 00:30:36,440
Congratulations.
542
00:30:36,440 --> 00:30:37,440
Yes.
543
00:30:37,440 --> 00:30:38,440
All right.
544
00:30:38,440 --> 00:30:41,440
So this concludes this episode of the piano pop.
545
00:30:41,440 --> 00:30:47,440
Thank you, Annie and Evan, Brendan for, and Susan for joining and, uh, you're the baby.
546
00:30:47,440 --> 00:30:49,440
I didn't want to interrupt you.
547
00:30:49,440 --> 00:30:51,440
Uh, you're the baby.
548
00:30:51,440 --> 00:30:56,440
I didn't want to ask the name because sometimes, you know, you want to hide, you want to be
549
00:30:56,440 --> 00:30:59,440
anonymous with the little ones, but, um, thank you.
550
00:30:59,440 --> 00:31:00,440
Yeah.
551
00:31:00,440 --> 00:31:01,440
Thank you.
552
00:31:01,440 --> 00:31:02,440
Little girl, little baby for joining.
553
00:31:02,440 --> 00:31:06,440
So, um, sharing your stories and insights and expertise that you can learn more about
554
00:31:06,440 --> 00:31:12,440
a seat at the piano through their website at a seat at the piano.com and also through
555
00:31:12,440 --> 00:31:13,440
Instagram and Facebook.
556
00:31:13,440 --> 00:31:16,440
Thank you to my wonderful audience and fans for tuning in today.
557
00:31:16,440 --> 00:31:20,440
If you enjoyed today's episode, please rate and review it on whatever podcasting platform
558
00:31:20,440 --> 00:31:21,440
you use.
559
00:31:21,440 --> 00:31:27,440
Remember to hit the thumbs up button and subscribe to my YouTube channel and then also follow
560
00:31:27,440 --> 00:31:33,440
the piano pod social media to get the latest piano news via Facebook, Twitter, Instagram
561
00:31:33,440 --> 00:31:34,440
and LinkedIn.
562
00:31:34,440 --> 00:31:36,440
I will see you for the next episode of the piano pod.
563
00:31:36,440 --> 00:31:37,440
Bye everyone.
564
00:31:37,440 --> 00:31:38,440
And thank you so much, everyone.
565
00:31:38,440 --> 00:31:39,440
Annie, Evan, Brendan, Susan.
566
00:31:39,440 --> 00:31:40,440
Thank you.
567
00:31:40,440 --> 00:31:57,440
Thank you.