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Welcome back to another episode of the PianoPod. I am your host, Yukimi Song. So today, I invited a

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team from a non-profit organization called A Seat at the Piano. They are Annie Zhang,

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Brendan Jacqueline, Evan Hines, and Susan Yang. ASAP, short for Seat at the Piano, was founded in

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the summer of 2020 in the midst of social and racial reckoning around the world. ASAP is run by

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these dedicated, classically trained pianists with varying backgrounds and experiences who strive

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to raise the voices of those who are less heard and to inspire more thoughtful, inclusive programming

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within the performing and pedagogical spheres. Let me quickly highlight each guest by citing their

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bio. Let's start with Annie Zhang. She is the founder of ASAP, a renowned pianist and educator.

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Annie has performed globally from the Kennedy Center to festivals in Italy and Spain.

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Passionate about contemporary music? She has researched its pedagogical capabilities,

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even creating a resource introducing unconventional techniques. With a DMA from the University of

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Michigan, she is now an assistant professor at the University of North Carolina at Greensboro.

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Then, Brendan Jacqueline. He is the co-founder of ASAP, Canadian American pianist. Brendan Jacqueline,

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based in Nashville, is a fervent advocate for contemporary music, premiering over 50 works

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and championing interdisciplinary performances. Assault after speaker, he has graced stages

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from MTA to NCKP conferences. As assistant professor at Piano at Fisk University, he brings

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a rich educational background with a DMA from the University of Cincinnati and mentorship from

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renowned musicians. Then, let's move on to Evan Hines, also the co-founder of ASAP, pianist and

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educator. Evan, an Oberlin and University of Michigan alumnus, has flourished as a pianist

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and collaborator. He's been part of the Ann Arbor-based trio Continuum, toured Mexico and

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performed at Kent Blossom Festival alongside renowned artists like Joella Jones. Having served at

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Oberlin in various roles, he is now pursuing a DMA at the University of Texas at Austin.

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Then finally, Susan Yang. She is also the co-founder of ASAP. She is a distinguished performer

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and pedagogue. Managed by the National Federation of Music Clubs, she has won numerous awards and

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recently performed with orchestras like the Nashville Symphony. Her debut album, Doorways,

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have remembered music, showcases her talent. A passionate educator, she is presented at various

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conferences and champions community outreach. Currently, she is a piano faculty member at

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Vanderbilt Blair School of Music with degrees from top institutions and mentorship from

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renowned pianists. Dear TPP fans and listeners, I can't wait to interview these brilliant pianists

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and educators and learn what a seat at the piano is all about. Stay with me till the end as our

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conversation will lead to more reflective discussion on how we as trained classical musicians

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should keep classical music alive and thriving in our fast-paced world and more. Here we go,

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dear friends. Please enjoy the show. You are listening to the piano pod where we talk to the

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brightest minds in the industry about how they are bringing the piano into the 21st century.

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Welcome Annie, Brendan, Evan, and Susan to the piano pod. This is my first time ever interviewing

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more than two guests in an episode, so I'm super excited and a little nervous. Just kidding. So

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this is going to be fun. I got an email from one of you guys back in April or May of this year that

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you have been following the piano pods Instagram and listening to the episode, which I am really,

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really grateful for. And then I get to know your organization then. And since then, I have been

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checking out the extensive database of unknown composers and compositions, many of which I have

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yet to learn and discover. So later, I will let you guys introduce yourselves to our audience. But

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for now, let's start with this. What is a seat at the piano? Is it an organization program,

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database, and who is this for? So a seat at the piano is essentially a platform to raise the voices

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of a lot of composers who have been less heard or historically excluded or underrepresented.

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And 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 to

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go to if they're seeking different kinds of repertoire, they're outside of the normal kind

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of canon. So that's kind of it in a gist. I'm sure we're going to talk a lot more about it and how

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it all started as well. What is the mission of a seat at the table? May I call the organization ASAP,

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which is a really cool four letters? I actually love that you slipped a little bit right there,

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because you said a seat at the table. Actually, that's that's partially why we called our organization

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a seat at the table. A seat at the piano. And maybe Susan, if you want to maybe talk about our name,

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because you were the genius or part of the genius behind coming up with the name of a seat at the

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piano. It's been a long time, but I just remember we were all brainstorming, just like dumping

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names that we could think of into a document. I remember some of it was like, a seat at the bench,

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a seat at the piano. What were the other ones or something like database for promoting piano

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inclusion? And we wanted something that was, you know, this is serious stuff, but we also want to

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make it fun and engaging. And when speaking of, you know, having more, more voices, more conversations

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at the table, which is a more common kind of phrase that we use of a seat at the table. And we think

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about a bench, a bench, which is so limited sometimes in front of a piano. But if we have more,

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what if we had a longer bench, you know, that could fit a lot more of these voices and a lot

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more of these identities and personalities. Yeah. And I noticed, actually, I think Brenda and I did

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at the same time, we were just going over the names and we were trying to come up with a more

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fun name instead of just calling this a database or a website or something. So, and then we were

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like, Oh, a seat at the piano, a previous to ASAP. And people should be doing this kind of work

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ASAP. So that was like a kind of fun coincidence. So then we, we settled on the name right away,

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because that just seemed to be, yeah, the most appropriate out of all the ones that we came

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up with. Yeah. And it's really catchy, right? And then, sorry, I was saying the wrong name, but

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a seat at the piano, right? Yeah, you're actually not the first one. Yeah, we've, I've had a lot of,

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I've heard a lot of people say, I see that the table on accident. Yeah. Yeah. But I really like

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the background of where the actual name came from. And I like the shorter version ASAP, which is

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really catchy. So what is the mission of ASAP? The mission of ASAP is to promote and include

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the music of the popes that hasn't necessarily been in the forefront, you know, and I was actually

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thinking earlier today that there are so many of these pieces from the big names that we know,

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Beethoven, Mozart, whatever. And what something that has been really exciting about the work that

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we've done is that you are starting to see sort of some very specific pieces become a part of the

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canon nowadays. And I started to think, oh my God, like, of course, they're playing this piece again,

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but also you have to remember that one is better than none. The whole point is that like, yeah,

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this, like we might be seeing the same pieces over and over again. However, it's already hundreds and

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hundreds of years too late. So like, even if there's one more, I know that the work that we're doing

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is working and very important. And yeah, so basically, we're trying to catch up with the

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inclusion of works of piano music from composers from historically excluded groups.

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Why did you want to start this organization? And was there anything obviously missing, right? It

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was like the composers, unknown composers, unknown compositions, which amazing works of unknown composers

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which were missing from our program, from our even teaching repertoire and so forth. But was there

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anything else that was missing that you motivated to start this program, this organization?

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During the summer of 2020, which was obviously during the pandemic, and we're all in isolation a lot

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of time to reflect, of course, our whole nation was dealing with solitude and also racial reckoning,

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social reckoning, a lot of the disparities that are within our society. And I think there was a

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big call to action. It's unfortunate that the circumstances had to create this call to action,

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but that there is this urgency that we had to do something. And so whether or not that was going

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out into the streets and protesting and saying your voice or, you know, showing the ways that

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you're supporting other communities and other different ways, I feel like as musicians, even

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within our silo, within our bubble and our sphere, we can still do a lot of influence. And so this

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started actually just, you know, in my bed, on my laptop, just kind of doing my own personal research

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when I was doing myself reflection and like kind of mad at myself that I could only maybe name,

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like, off of the five fingers of my hands, the number of composers that I'd played that were

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not by standard typical white male Western European composers. So I started just kind of coming up

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with a list. And this was really just kind of for me to kind of think about, okay, when I am

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assigning repertoire, maybe in the fall semester, like maybe I'll pull from this list. And what was

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kind of fun about this project is that it's very easy to kind of go into this like spiral and this

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like black hole of a lot of like amazing pieces that you just never heard of. And so I just started

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cataloging it, putting it in this Google spreadsheet, and including things like, you know, obviously the

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composer, the names of the pieces, the duration, difficulty in leveling as much as I could, a

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recording, a score, shared it on social media, because that's that was the main form of communicating

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with a lot of folks within that time of the pandemic. And there, I just kind of put it out there as a

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feeler of like, okay, what do people think about this? I'm working on this thing. What do you all

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think? And it seems like a lot of people were actually in need of it. We have a lot of great

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resources as it is already Institute for Composer Diversity, but that tended to geared more towards

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like larger orchestral band works. We have Casio, which is a vocal database, music for black

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composers, which is specifically black composers. And we really wanted to be a little bit more broad

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with the scope of the diversity in terms of composers that we were reflecting. Funny enough,

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Susan and Brendan, who I know very, very well from going to grad school with, and Evan as well,

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actually. But Susan and Brendan came to visit me during the pandemic very safely. And I told them

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that this was like a thing that I was working on and what better than to ask your friends for help.

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And so, you know, I realized very quickly, this is not something I could do on my own that I wanted

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to even do on my own. That's where it all started. And this all started remotely. You know, I saw

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that there was this need within the piano community. People were asking on forums like, where can I find

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pieces by Latin composers, black composers, first nation composers. And there wasn't really a

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resource for it. And so now, given that we really wanted to see this change and a lasting change,

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a sustainable change, we were able to say, well, you don't have an excuse anymore. You know, like,

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here's everything. And we just keep on expanding that. So wonderful. Beautiful. I want you guys to

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introduce yourselves for our audience one by one. Let's start with Annie. You're the founder, right?

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So my name is Annie. And I am the founder. And I'm also the executive director of our board.

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Right. And you're joining from where? Oh, I'm joining from Greensboro, North Carolina.

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Hi, my name is Susan Yang. And I'm joining from Nashville, Tennessee. I'm a co-founder of

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a Seedah the Piano. And I think my new title is director of special projects and community

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engagement. Hi, I'm Brendan. I'm also coming to you from Nashville. I'm also one of the co-founders.

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And I'm director of operations, which is a lot of the tech stuff. And I'm Evan Hines. I am coming

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to you from Austin, Texas. And I'm, I guess, a co-founder as well and coordinator of database

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operations. What made you guys decide to do it together? What was the inspiration? So Brendan,

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I come at it from a pretty different background than a lot of people. I grew up in Canada. And so

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there was an organization, the Royal Concerts for Right Music that I grew up playing those syllabus

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from. And they actually have always included a lot of composers, usually Canadian composers. And

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Canada is a pretty new place. So we've always had female composers and people of color and

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everything in that syllabus. And then both my parents are musicians. So I was actually working

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with composers when I was a kid, including my high school teacher, Sarah Kineskini. And so

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I actually didn't realize till I moved to the U.S. that that gap was there. And so for me, part of

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wanting to do a seat at the piano was to sort of give people the experiences that I was lucky enough

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to have that I never really realized how different it was because I was playing composers since I

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was, you know, probably six years old that we find in our database, which is different. And then I

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also do a lot of contemporary music. And so it's just a big draw for me on a personal level. So

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I just love finding all the cool new stuff that's out there. Just every time I find a new composer,

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I just sort of dive into their music a little bit when I'm working on the website. And so that's,

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you know, also just fun for me.

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Tell me a little bit, elaborate a little bit about the difference. So I know I myself from

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originally from Japan and I'm Korean, but you know, I was I was brought up there. So

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obviously there's a culture shock and cultural differences, especially in as an educator. And

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even like within the United States, I used to live in Florida and then coming to New York City was a

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big, you know, huge cultural shock in many ways. And not just in terms of like a culture culture

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itself, but I think every neighborhood I go to has its own cultural difference, especially a place

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like New York, because it's so diverse. So Brandon, what did you notice about being coming here in

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United States as a music educator, maybe? There's just a different mindset about what the culture

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is. So Canada, it's a big country, but population wise, we are very small. And so there's a lot of

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things in Canada that are meant to protect and sort of promote Canadian culture. So a lot of our,

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even our radio broadcasts, you have to do 50% Canadian content. So Canadian performers, Canadian

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composers, something has to be Canadian and them. And then when you come to the United States, like,

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it's just default American. And so it's a little bit of a shift in what is sort of normalized that

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way. And that was a big sort of shift. And I've always made it a point to continue to play Canadian

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composers and to work with Canadian composers, even since I've moved here. But I would say in terms

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of mindset, that was sort of one of the bigger things that I've noticed. So how are you bringing

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your, let's say your background into this organization? In terms of the composers on the

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database, I can tell you that when we first started, I added a lot of Canadian composers. It was very

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Canadian heavy for a while till we started working on adding more. And then I also have a not a great

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tech background, but I do work with a lot of electronics and performing. And so a lot of what

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I've done for the organization has to do with like building the website and learning to code a little

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bit so that the search functions at least mostly and sort of attacking it from that end, which is

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something that a lot of classical musicians don't necessarily have. So now Evan. Originally, it was

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a pretty shared text or a Facebook message from Susan saying, Hey, do you want to join us? And

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of course, it was also at a time where of course, we had a lot of time. So I was of course, really

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enthusiastic about being a part of it. In terms of the work, I can say growing up. So my mom was a

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pianist actually as well. And my dad, although he passed, he was a vocalist. So that's how they met.

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They met. He needed a pianist. The rest is history. And so growing up, I certainly was introduced to

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certain black composers through the vocal repertoire. And like anybody, you know, we come to things with

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our own experiences. And however, as a pianist, growing up, I certainly found myself being

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for those that are only listening, I'm an African American pianist. And so I found myself making it a

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point to prove as a black pianist that I could play Bach, I could play the Mozart, I could play the

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Chopin A2 as well as anybody else, because you don't see a lot of us in this space, you know, so

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but because of that, I wasn't necessarily rejecting learning about more black composers, because it

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was still a part of my upbringing to a certain extent. But I certainly wasn't going out of my way to

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necessarily make it a part of how I programmed a part of what I was necessarily just at the forefront

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of my curiosity a lot of the time. So I was really excited to put a lot of effort into just expanding

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my knowledge of not only black composers, but of course, that's where it started.

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So how about you, Susan?

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When Andy first called me about this project, and I just said, sure, yeah, we have so much time,

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we're in lockdown. Well, I'll help you, I'll do this. But in terms of doing this work, I actually,

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unlike what you asked about Brendan about bringing his own background into this, I actually think

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through this project, I'm finding a part of my own identity because so I'm an immigrant too, I grew up in China,

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and learning to play the piano was, you know, a lot of the Asian culture, they try to westernize

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things and learning to play piano was like such a classy, elegant thing, you know, and I from day one

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until I graduated with my DMA, I've been playing Beethoven Sonatas, Journey A2s, you know, like what

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Evan said. So the more I got to work with an ASAP, the more I found all these cool composers that,

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you know, I almost feel like I was robbed of learning this in my primary education because

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there's so much great music out there that I just didn't know about. And I'm also a first-gen college student.

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So, and working on this project kind of made me, you know, realize this is also part of who I am,

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like I need to celebrate my identity instead of always trying to hide being embarrassed about being

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first-gen college student or being embarrassed about being an immigrant. So I guess working on ASAP

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has been really empowering in certain ways to, you know, it really resonates with me that I do

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acknowledge that I did have a lot of privileges growing up, but I also have, I share that marginalized

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areas with these composers that we're trying to promote and advocate for. So that's where I stand

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with this project. Thank you so much for sharing such a personal story. Then I'm going to go to

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then when it comes to the question of what is the true meaning of inclusion, right? So I think

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that's really the mission that you are on and by using the diverse repertoire and putting that into

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database. But I think it's in the end, it's more than that. And you're just really there to help

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every artist, every student to find their own pathway, right? So before continuing this fun

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episode with the team of a seat at the piano, let's take a moment to hear from our valued sponsor,

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today. How are you accomplishing your mission? So you know you have this beautiful website,

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but can you tell us a little bit in details? Maybe I'm happy to share the screen with my audience.

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So on the front page, I try to keep it updated so that if there's new composers added to our

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database or every once in a while we do a small sort of featured composer. So right now it's

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Jessica Barbara Eiland-Hommer, which was actually written by one of our summer interns, Katie Larson.

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And then during the year, I'll add those. We have our blog, Thoughts and Conversations,

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which has the featured composers. I wrote a couple articles when we started adding

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Piano Concerto's Start Out of Bass in the spring and sort of goes through all of that. We'll have

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an upcoming series. Another one of our interns, Chan June this summer, wrote a series of articles,

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sort of biographical composers based on composers whose Wikipedia articles are

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stubs are very, very small. And so we'll have that coming up probably starting at the end of

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September. And so we'll be doing that with the blog. The database is the main part of the website.

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And so on here, we have, I don't remember, 2700, 2800 pieces right now. And we have

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6,000 on our research list that we're working on adding. So it will be, we will be over 6,000.

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And when you go to it, the default is just like a browse. So it's arranged, reversed

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chronologically, and you can go through. And then you can also sort by name and year,

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level, showing only living composers, showing only concerti. And then there's a search function

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that you can use to search for pieces that way. You can use different identifiers, nationalities.

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I will say all of the identifiers that you can search by for our database, for every living

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composer, we do get their permission to use those identifiers. And everything is public

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information. So basically, it has to be on their public bio on their own website for us to use it.

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For example, I have a couple friends in the database who identify in various ways,

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but not professionally. And so like, you wouldn't be able to find them that way.

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And so it's, it's sort of done like that. And then from the database, if you click on a composer,

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it takes you to a composer's page. And if you click on a composition title, it'll take you to a page

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that has links to recordings, if they're publicly available, scores, if we can find it. So this

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piece here doesn't have a recording, but it does have a score. And you can contact, in this case,

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Carolyn, about purchasing the music for that. And so it's sort of set up to try and make it as,

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as convenient as possible for everyone. Wow, very, very detailed. It's great that you can search by

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level. You know, sometimes as a teacher, I really don't know where to start. So being able to search

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by level is very, very helpful. I also want to talk from the provider's point of view, let's say,

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I have this extensive research on certain composers, maybe composers from Asia, for example,

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and that I want to contribute. Is that possible? Yeah, so we have a submit page where you can

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basically submit whatever you found. So we do have a lot of our composers are our own research,

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but we definitely have lots of people who submit composers or pieces, or even if they find a

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recording for a piece that we haven't found yet, they also will sometime you can submit a recording,

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and that way we can update our own database to start including more and more information.

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Because we're well aware, like we only know what we know, and we don't even know what we don't know.

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And so we're always welcoming anyone, you know, who knows pieces or composers or anything,

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just to sort of contribute that way. And we have a big list of composers we're working on adding

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from these sort of public submissions. You can also find more information about, we have suggestions

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for how to program this music in like a thoughtful way. Where can I find that? So that's under a

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database. Sorry, I'm forgetting how I did this, using the database.

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Okay, we have sort of our own suggestions for programming. So that way you can sort of,

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we want to avoid tokenizing composers and we want to sort of help people present the music for

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it's true worth and to sort of look at it that way. We also have links to other organizations

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whose missions we also just believe in. And so if you're curious about finding other resources,

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these are databases and composer federations or performers and other sort of things that

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we have found that we are also adding to this sometimes we get suggestions for this page as

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well. And that's always exciting because then we get to sort of dive into some other thoughts

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and how to sort of approach this idea. Also, if we want to contribute, we can donate to your

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organization, right? Yes. Yes. So we do accept donations. We are pretty much entirely donation

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run in terms of funding for paying for the website and everything like that. You mentioned that in

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that the tab thoughts and conversations, it's basically the blog page, right? So who is contributing

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the content for the blog? We have, we're lucky enough to get summer interns from a couple

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different organizations. We have one from Lawrence University and one that's sponsored by the Jack

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Hank Cook Foundation. And so we've always asked our summer interns to write blogs about something

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about something that interests them. It could be about their experience or however they want to

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approach it. Annie has had students write blogs for us and we do pay students for those. So we

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get to work with them and then they get to sort of explore something that's of interest or one of

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their research projects that sort of aligns with our mission. And sometimes we have had people just

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like solicit us and just ask us if they could write something and then we'll get in touch with them and

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and sort of work through it that way. And so there's, it's pretty open about who is there and it's

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sort of just, you know, can we work together to figure out a way that's beneficial for everyone and

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offer something of value that way. What's the qualification to be listed on your database?

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Like it has to be living or has to be dead or a genre, you know, even like the dealing with

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contemporary music. Right now the classical music sometimes goes a little edgy and then

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sort of having to have like a multidisciplinary compositions. And it's pretty, pretty open.

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Right now it's, it is, we do try to find like published written out solo piano repertoire

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and concherities, but there are pieces on there that use electronics or extended techniques. And

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we just make them note of that in the database, like just to let people know that you do need

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this extra equipment for those pieces. Yeah, it doesn't have to be everyone. I don't remember

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the oldest composer in our database right now, but it's several centuries ago all the way to people

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who are quite young. Like makes me feel old how young they are. And so it's pretty open as long as

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they are, you know, sort of representative of some sort of historically underrepresented group that

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way, then it's pretty open. Wonderful. Yeah, I saw that birth year was 1999. Oh my goodness.

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I feel so old. Oh, I think our oldest composer, I was just looking at our database. I think it's

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Elizabeth Jaquette Lecaire, who was born in 1665. Cool. Yeah. So you have really extensive

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data there. Do you have any other way besides blogs to reach out to more classical musicians

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and educators, like for example, maybe creating a playlist? Because, you know, my podcast,

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actually, my podcast was born on the same, I think around the same time that your organization was

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born. So we share the same birthday, right? So and then I actually, well, last year I got so busy,

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but I was monthly creating a playlist for listeners, like, you know, to have a diverse

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repertoire list in my playlist. So have you thought of any of these things or

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you're maybe already creating something like that? Yeah, we're doing a little bit of that now.

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Additionally to the blogs, we have social media as well. And so through our social media platforms

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of Instagram and Facebook, we will celebrate composers birthdays and then therefore also

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feature some of their works during those days in our posts. We also started creating not really

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playlists, but like our favorite top 10 kind of pieces each month. And they were typically themed.

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So like, for October of last year, I remember we did like spooky pieces that were in our

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database or like wintery pieces in December holiday pieces. But I love this idea of actually

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creating like an actual playlist. And maybe we'll do we'll do that and feature that as a blog. So

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thanks for the idea. Yeah, we can collaborate, you know, I can feature your playlist on my yeah,

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that would be nice. As a teacher, okay, I've been teaching for a long time. And you know,

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we are so busy. So we tend to stick with the same good old pieces, you know what I mean,

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like, in any level, because you get so comfortable with them and you are very familiar with them,

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whether that is elementary pieces to a very advanced. So for those folks like myself,

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what's your advice? Just to expand the horizon, because we get so caught up in our daily day

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to day lives. And you know, as a teacher, you have to also do a lot of admin stuff. It's very

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hard for me sometimes to get out of that my comfort zone and do a lot of research on contemporary

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pieces. And that are, I mean, there are so many amazing contemporary pieces out there, I know,

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or unknown pieces of hidden gems, right? So what's your advice? Yeah, this is actually something

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that we speak to music teachers about all the time. Well, it's great that you acknowledge that

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there's this gap in your teaching. And I think it's not as easy as a sound, you do have to,

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you know, just carve out some time to do your own research. But I would say start with ASAP

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resources. That's why we built our database. So one of the cool features about the search bar

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and our database on the website is that I think Brendan is going to work on refining that a little

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bit. But you can search by genres or, you know, different types of pieces. If you're teaching,

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say, like a minuet, you can just type in minuet. So this kind of delves into the area of repertoire

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substitution. You know, instead of teaching a Bach minuet, you can teach a minuet written by

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Delaguer. So if you just type in the search bar minuet, ideally all of the pieces titled

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minuet should pop up in the database. So yeah, this is something, I mean, I think we all struggle

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with. This is like a presentation we gave two years ago, you know, like we all love what is

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familiar. It's really easy to just go for the pieces that you've already played and you've

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already taught so many times. But just know that there's so much more cool repertoire out there

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that we're missing out on. But yeah, looking out for resources like ASAP or for other, I guess,

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disciplines, non-canons, I guess, you know, like all the database that Annie mentioned earlier,

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just keep an eye out for those. But I think to begin with, you know, if you have the desire to

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look for these kind of pieces, if the desire is there, then I think you just, you kind of, you do

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have to go out and look for these pieces on your own. So part of our mission is to make this widely

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available. And this is why we're doing podcasts like this, interviews, creating that online course,

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advocating on social media to just spread the word. So, Evan? Well, I was going to say,

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really, it just starts with one piece, right? You know, like it can be so overwhelming. And what,

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you know, it's actually nice about that is that proves that there's so much music out there.

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There, the excuse that I don't like any of it cannot apply, right? At this point, there's,

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there's bound to be something that you like enough that you're going to want to teach and learn yourself.

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A very specific thing that came to mind, because there's so much out there, you know, we have like

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the charity exercises, the hand and exercises. But there's also a woman French composer, A.L.A.

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de Montreux-Roll, who has like the most extensive package of atoos exercises, like short pieces.

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So like, if you want to think about a huge set of things that are geared toward a specific

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sort of technique or something, I would start there, maybe. Yeah, there's plenty. You'll find something.

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Yeah. That's a wonderful problem being a pianist and piano teacher, right? Like,

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it never ends. Like, we have too many pieces. We have to live two, yeah, two, three lives to be

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able to accomplish that. Well, I just wanted to add that, you know, I think one of the things that

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teachers, experienced teachers, all teachers will do is that they go towards anthologies,

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because everything is in one book. It's very easy. You flip a page, you look for another piece.

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And one of our future projects that we're going to be working on is creating anthologies of the

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works that are in our database. But that's not stopping you also from kind of creating your own

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anthology. Like, I've kind of been doing that on my own of just like creating these like booklets

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of pieces that I like. You know, like I have my standards of teaching certain technique,

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and now I'm building up another set of list of pieces that also do the same, but just within

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our database. So, you know, it's just kind of creating your own resources. And also by creating

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it, then you have so much more ownership of it, and you feel like you really know it. So,

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I think like it's just kind of piquing your curiosity. And like, if I love that Evan says,

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like, just start with one thing, because usually if you start with one thing, like, you will find

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other things too. That concludes the first half of this fun episode of the PianoPod with the team

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of a seat at the piano. If you enjoyed this episode, please rate and review it on your favorite

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podcasting platform. Don't forget to follow the PianoPod on Facebook, Instagram, TikTok,

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and LinkedIn. The links are listed in the description. Tune in next Tuesday, September 26th at 8 p.m.

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to hear the rest of the interview with the team of a seat at the piano.