Piano Author Q&A: Spotlight on Tom Gerou

As a composer and author of over 160 publications, Tom Gerou is known for the wide variety of his output. His work ranges from the Essential Dictionary of Music Notation , Essential Dictionary of Orchestration , and Premier Piano Course: Great Music & Musicians to popular arrangements and original compositions. Tom’s piano arrangements have become staples in piano teachers’ libraries. Learn how Tom got started in music, what inspired him to start composing, and what advice he has for young, aspiring composers.

How did you get your start in music?

I started piano lessons at age 8. At age 12 I was added as a keyboard player to our family rock band. I very quickly had to learn what chords were and how to improvise. We performed every Friday and Saturday, and sometimes more often, for six years until I left for college. But because of the constant music making I discovered ‘classical music.’ As soon as I started high school I discovered Bartok, Debussy, Ginastera, Prokofiev, Stravinsky, and others. A six or eight hour practice time became the norm—I had a lot of catching up to do.

What do you remember about your first piano lesson?

I remember how difficult it was to learn to read music. I enjoyed the piano lessons with my two local teachers. One of my earliest pleasures was learning “Raindrops Keep Fallin’ on My Head,” arranged by David Glover. It was the 60s and this was the current hit song. I was so proud!

What inspired you to start composing?

I wrote rock songs for our family band. This opened up my interest in classical music and I began to study music theory, history, and technique largely on my own throughout high school. My first publication occurred when I was 19. It was a choral piece. I believe that learning Allegro Barbaro and Ginastera’s first piano sonata truly peaked my interest in composing.

Do you have a favorite composition of yours?

I would have to say the sheet solo “Northern Lights” is still my favorite. It seemed to write itself and the musical form turned out very cleverly, although to hear the piece, one wouldn’t know. I wrote two commissions over the last few years, "Circe Invidiosa," a piano sonata, and "Trio Capriccioso" for violin, viola, and piano. The long weekends and nights I spent composing them was magical for me. I felt I was in graduate school again! Both these projects spurred me to research and discover quite a lot of music unknown to me. Because of this, to this day I regularly study scores of music as a preferred activity most evenings.

Do you have any advice for young composers?

No matter what style is desired, challenge yourself to say yes to any opportunity to compose and have it performed. Don’t worry about your work being perfect—the craft improves over time with hard work. Whether the piece is very simple or very difficult, the same thought and effort should be applied to the piece. Another piece of advice is to try to think and hear your work from an objective perspective rather than your personal perspective. How will others hear this work? Will they understand the intent? Will it be interesting to an audience? Music can be esthetically interesting and personally satisfying at the same time.

If you could have dinner with any musician, past or present, who would it be and why?

I think I would have enjoyed discussing life and music with Giacomo Puccini. I am fascinated with his character and delighted by his music. I can never quite figure out how he approached his operas musically while at the same time being commercially appealing. Music and theater are always an interesting mix. George Frideric Handel is another character that I would enjoy. I understand he was quite the personality when it came to the prima donna singers’ attitudes. He probably had many colorful stories to tell.