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Welcome to LivingPianos.com, I’m Robert Estrin. Today we’re going to discuss the three worst piano practice habits. These might be things that you do in your piano practice. Maybe you’re scared I’m going to bring something up that you do! Maybe you’re not aware of these destructive habits that are part of your practice routine. But it’s better to find out now than to continue on the wrong path.

1. Hesitating before a tricky passage

Hesitation is a habit that I constantly work with students to eradicate. It’s such a bad habit! You get to a difficult part and you can’t quite get it, so you hesitate just for a moment, then you get it and go on. This is a very bad habit because it ingrains stopping into your playing. The more you do it, the more you will continue to do it. It’s self regenerating. So how do you break that habit? We’re going to get to that, but first I’m just going to list the three habits so you can see how they apply to you.

2. Starting over from the beginning after making a mistake

The second bad habit is, when you make a mistake you get frustrated and you go back to the beginning. I’ve talked about this many times before. This is such a destructive habit. In a performance, if you find yourself having difficulty, what are you going to do? You can’t just go back to the beginning. The audience doesn’t want to listen to all of that again just so you can get past that point.

3. Changing speeds in your performance

Maybe there are some parts of a piece that you can play really well, so you play them at a nice fast tempo. Then you get to the parts that are a little harder and you slow down to accommodate them. Once again, you lose the whole flow of the music. You might think that to play everything slowly is tedious for the audience, so you might as well play fast where you can. But that doesn’t make for a fluid performance.

What can you do in your practice to eradicate these bad habits?

1. Hesitating before a tricky passage: You’re going along and you pause for just a moment, and then you go on. This is incredibly disturbing to the audience. Maybe they are tapping along to the beat and then suddenly it hesitates. It’s off-putting. With something that’s lyrical, anytime there’s a hesitation it just doesn’t feel right. I’m going to tell you what you can do. First of all, make sure you’re choosing the right tempo so you can play through the piece without hesitation. But suppose that just doesn’t cut it. Suppose you’d have to play the piece at half the speed just to avoid a couple of hesitations. That seems like a brutal solution. Indeed there are more effective ways of dealing with hesitations, unless you’re hesitating every bar, in which case you obviously need to choose a much slower tempo. But if it’s just a few key places where you are hesitating, and you can’t quite eradicate it, I have a solution for you.

When you are practicing, get in the habit of stopping whenever there’s a hesitation. Stop immediately and find your place in the score. Find an appropriate place in the score just before that hesitation where you can start to get past the point of hesitation. You might have to start slowly and increase the speed. Maybe even do metronome speeds if you can’t quite get through the hesitation by playing it several times. Then after you’ve played through the trouble section several times in a row perfectly at a comfortable tempo, go back to the beginning of the piece, or the beginning of the section to pass that hesitation.

Interestingly, you may find that even though you can play it many times in a row perfectly starting at the previous phrase before the hesitation, once you go back further, you may still hesitate there. So you may have to go back a little bit further to get it fluid. Then go back to the beginning of the section or the beginning of the movement to finally eradicate that hesitation. You can work all your key hesitations out that way. I sometimes refer to this as the band-aid approach of practicing. It can be very effective, because if you just have three or four places in an entire piece where you’re hesitating, to take the whole piece painfully slowly will feel quite tedious. And it’s not the most productive way to solve the problem. So hopefully this solution works for you!

2. Starting over from the beginning after making a mistake: It’s so tempting when something goes wrong to just start over and try again. Well, the problem with this is if you get in the habit of doing that in your practice, when you get out to perform you’re going to do the same thing. More than that, it doesn’t solve the underlying weakness in your playing. So what you must do is find exactly where you had the problem, and study the score to figure out the solution. Then, much like I described before in avoiding hesitation, start just before the point at which you had the problem, pass that point several times, increase the speed, and use the metronome if necessary. Sounds familiar, doesn’t it? It’s a very valuable technique. You may have to go back a little bit further to finally be able to start from the beginning and pass that point without starting over. So the key here is to reference the score and nail down the correction. Be very deliberate with this. Find the specific correction so that you don’t just play on automatic pilot with your tactile memory. You don’t want to rely upon that because obviously, whatever made you miss it that time, will undoubtedly happen again. So you want to really focus on the correction. A lot of people want to know what they did wrong, but that’s of no value. Find the correction! Whatever you focus on is going to be apparent in your playing. If you’re focused on the mistake, you’re going to make the mistake. Focus on the correction and forget the mistake. This is a life lesson too!

3. Changing speeds in your performance: I have a student who’s extremely talented. He likes to play everything really fast and it’s pretty dazzling. He hasn’t been playing very long, and I’m constantly impressed by him. But being able to get through an entire piece or even an entire movement at the speed at which he starts is oftentimes all but impossible. So going faster and slower really isn’t the answer.

Here again, you want to focus on the parts you can’t play up to speed. The answer here is to work with a metronome. Once you get to the part you can’t play up to speed, find a speed you can handle and set your metronome to it. Then start from the beginning and play the whole selection at that speed. If you really want to play a faster tempo, zero in on the parts you can’t play faster and work with progressive metronome speeds and other practicing techniques in order to get them up to speed. Then you will be able to play everything at the tempo you want. But starting off at a tempo faster than you can play the difficult sections won’t work.

So these are three tips for you! You’ve probably noticed there are similarities in the solutions. Focusing in on the correction, going back, speeding things up, working with a metronome, going back a little bit further, then going back to the beginning. These are tremendous practice techniques that come into play in solving these common problems in piano practice. If you can break these bad habits, I promise you, you’re going to take your playing to a higher level! You’ll really have security, and you’ll be able to play through a piece from the beginning to the end at one speed without stopping, without going back, without hesitating, and without changing speeds. I hope this is helpful for you! Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to share with you two ways of solving technical problems on the piano. There are many different ways of solving technical problems. But I find that most pianists use these two methods, particularly the first method I’m going to show you. We’re going to use a very tiny excerpt from the first movement of the Mozart Sonata in C major K. 330. There’s a tricky passage in the development section early on. I’m going to play this for you on the accompanying video starting from the beginning of the development section through to this tricky passage. Then we’re going to go back and dissect what makes this passage difficult and how to solve it. This can translate to problems you have with finger work on almost anything you play. So this will be very valuable for you!

One of the primary ways of practicing is utilizing progressively faster metronome speeds.

I think all serious pianists practice this way. This is the lifeblood of serious piano practice. So if you’re having trouble with a passage, start at a speed in which you can play it with total security. Start very slow, 60 bpm, for example. Play through the passage as many times as it takes to be able to play fluidly and easily. You not only have to be able to play it reliably, you have to feel comfortable. You want to feel like you can do it without even thinking. You want to make it a total fluid line before ever raising the metronome at all. You have to be very critical at this stage because if you start increasing the speed before you have it absolutely perfect and repeatable, then you’re just going to be embedding those insecurities in your playing when you get it up to speed. This is the most important part. Take the time on the front end to really cement things and get it really comfortable before ever raising the metronome.

Take it one notch at a time.

Once the passage feels 100% solid at 60 bpm, raise the metronome speed by one notch. Why one notch? Because you can’t even feel it! That’s the secret. Gradually get the security in your playing, not just playing it perfectly, but feeling comfortable where you can repeat it again and again easily. If you have the patience to work through your music this way, you will be rewarded with a refinement and a security that is unparalleled. That’s the secret to developing security and confidence in your playing. I guarantee if you spend the 10 or 15 minutes it takes to get a passage up to speed this way you will be richly rewarded.

Work to the point of diminishing returns.

You’re going to get to a certain point where you can’t play any faster. You might have a breakthrough and get two or three more notches. Then you hit that brick wall again. At that point, it’s time to stop and move on to another part of the piece to work on. There’s always tomorrow. When you get to a point when you really can’t get it any faster without spending an inordinate amount of time, leave it for the next day. You’ll be surprised the next day, maybe when you first start, you’ll have to do it at a slower speed. Maybe not all the way back down to 60. Maybe the first day you’ll get it up to 80 or 84. And maybe the next day you start around 72 and you work it up the same way and get it up to 90 or 92. Each day you will get metronome speeds progressively faster, starting a little faster than you ended up the previous day. Find a speed where you can play it with that same security and confidence and move up from there. Practicing this way is really rewarding because you might think you’ll never be able to get it, but it will only take 10 or 15 minutes to do this.

Very few passages in the sonata are this difficult.

You don’t have to necessarily work the entire piece one notch at a time. Although if you have the patience to do that, you’ll have an incredibly refined performance. But certainly key sections will require this kind of focused attention. And of course you’ll have to work on larger sections than just tiny snippets. You have to put things into context! So after this, you might go back a few measures or even go back to the beginning of the section.

There’s another way of practicing that’s diametrically opposed to this.

This second method is completely different. It’s sometimes a tremendous time saver, preventing you from having to go through the tedium of metronome speeds. Sometimes you can pinpoint the exact place where you can’t play up to speed. Maybe you can play almost all the notes up to speed, except there are two or three places where you can’t get from one note to the next fast enough. If you can isolate those two or three places, you can get the whole passage without having to go through the entire thing methodically. Let me show you how this works.

Of course if there is a scale passage as in this excerpt, that helps. If you can play a G major scale in one octave as occurs here, you’ve got it, right? Well, it’s more complex than that because normally when you play the G major scale you’re going to end with fingers over the next keys of the scale. But here, you want to end with the fourth finger over A, and the second finger over the F-sharp to be ready for the next section. So you need to practice that. Then you can play the next small note group and get it up to speed. Then you put the two small sections together. You might not be able to put them together right away. You can try, but chances are, if you’ve never played the note groups together, you’re going to have trouble with that at first. So instead, play just up to the second note group but don’t play it yet. First, get just those first few notes fluid and comfortable and up to tempo. Then stop just before the next group of notes with your fingers right over the next notes you are about to play, but don’t play them. After the pause, play the next note group. Do this again and again, shortening the break between these two small note groups little by little until you get to a point where the break is so short that it’s rhythmically imperceptible. So you know the break is there mentally, but it’s no longer aurally perceptible. It just gives you that moment to relax because you practice relaxing at that exact point by stopping on the last note of the previous group of notes while being over the next note group in a totally relaxed manner. You can work through small snippets one by one in this manner stopping just before the next note group while being right over the notes you are about to play.

Now you have two entirely different ways of solving technical problems!

The great thing is you can alternate between them. Sometimes one method will work just like magic. You’ll be able to move quickly through metronome speeds and in 10 minutes you’ve got an entire passage solved. Another time you may work this way and find that you can play almost all of it up to speed, so you find exactly where you can’t quite play up to speed and work on just those note groups. Then you can put the note groups together.

These are two incredibly valuable techniques for solving many technical problems you have in your piano practice. Remember when doing progressive metronome speeds, be totally secure at the slowest possible speed so you gain a high level of security and confidence and repeatability first. Then with each progressively master metronome speed, strive for that same level of comfort and speed. Take it to the point of diminishing returns. When you are working way too long just to get one notch, leave it for the next day. But it’s possible you can focus on just a couple of small note groups that you can master by stopping just before a problem spot, being relaxed with your fingers over the keys of the following passage.

I would love to hear how these methods work for you! I use these two techniques incessantly in my practice, and many other pianists do too. Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about the two different kinds of encores. There are fundamentally two different types of moods you want to create in encores, and I’m going to get into that. But first I want to start with a personal reflection for you.

My father, Morton Estrin, had such a profound effect upon me.

I want to talk a little bit about my father’s experiences as a performer. As much as he performed, he got extremely nervous for performances. And when he would walk out on stage, it was a terrifying experience for him! He would get so nervous, his pedal foot would shake. I remember watching him perform and feeling so badly for him. There he was, trying to control things, and his foot was going up and down like crazy! It was once kind of funny, in retrospect. In one of his New York recitals, the reviewer commented on his beautiful performance and his “fluttering pedal technique.” Little did he know it was nothing intentional. It was something my father fought with his whole career. And the way he overcame it was very interesting. For him, the easiest thing to start a program with was something really heroic. He could go out there and play the most bombastic virtuosic music right from the get go. With that, he didn’t have any trouble. But to go out and start a program with a delicate piece, like something of Mozart, or a Schubert Impromptu, was extremely challenging for him. With that very delicate music, any little motion of any part of the body has such profound effects. He worked really hard to overcome this and was proud of himself that he could go out on stage and play something delicate as an opener for a program. Because programmatically, he wanted to be able to have architecture and not just start with the most heroic piece. Usually you want a big finish at the end of your program.

What was interesting about my father’s performances, we would always go backstage at intermission and hug him and tell him how beautiful it sounded. He couldn’t even believe it because he was so terrorized up there for the first half! But in the second half, he would relax. By the time he got to the end of the program, he was in his element. He would play encore after encore and the audience would cheer for more! He would play five, six encores, as many as the audience wanted. And at that point he could do anything. He had no nerves left whatsoever. It was a thrilling experience for everyone who heard him!

There are two different types of encores.

When a program ends and you come out for an encore, the audience has been through a whole program. You want to charge them up! So you play something like a Chopin etude, something virtuosic and energetic. But what if the program ended with something big and dynamic and it’s already a blockbuster at the end of the program? That’s when you want to flip it and come out with a poetic encore, maybe a Chopin Nocturne or Prelude. That could be just the mood you’re looking for.

My father recorded the Scriabin Etudes Opus 8.

It was the first modern recording of the complete Opus 8, and it won record of the year. You can find them on YouTube. His performances don’t sound like etudes. They are rich musical experiences. He didn’t play them as just technical exercises. He played them for the gorgeous music that this early Scriabin is. The Opus 8 was very different from later Scriabin where he explored very sophisticated harmonies that bordered on atonality. Early Scriabin is sometimes compared to Chopin. It really has a voice all its own, but it’s quite chromatic, beautiful romantic music that is extremely emotional. I got to hear my father play them in New York at Lincoln Center. It holds a very special meaning for me.

I’m going to play the D-sharp minor Etude from Opus 8 which is the last of the set. Then, just as if the program ended heroically, because that is an incredible blockbuster piece, I’m going to go right into a movement of Debussy from the Children’s Corner Suite, The Little Shepherd, which was my mother’s favorite piece. I would play it for her as an encore. So this is very special and a personal performance for you. You can listen to the accompanying video. I hope you enjoy it.

Those are two completely different types of encores. What is appropriate depends upon your programming. So remember, if you’ve already pulled out all the stops, and you’ve ended really big, then bring it down and show poetry and express intimate feelings. Show what you can do to the soul! On the other hand, if the program ends with something long and melodic like a Schubert Sonata with beautiful architecture, then you’ll want to charge people up with your encore so they leave the hall with energy. Judging your encores is very important. Sometimes you can even have two or three encores prepared. Or maybe you’re brave enough and you have an audience that’s enthusiastic enough so you can play a bunch of encores like my father used to do!

I hope you’ve enjoyed this. Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about becoming a concert pianist. Do you aspire to be a concert pianist? Maybe you have children you’d like to expose to piano with the hopes that someday they can become concert pianists. There are many things involved with this. First, I don’t want to disappoint any of you out there, but starting young is really important. It will help to set the foundation and passageways in the brain.

Is it essential to start playing piano at a young age?

There are always exceptions, but I’d say starting young is important. Many concert pianists not only started playing young, many of them were child prodigies concertizing as children! Some of those people evolve into great artists. Many of them go by the wayside. The transition from being a child prodigy to being a concert artist later in life is not an easy one for many reasons. Coming into one’s own as an adult is a time of discovery for everyone, not to mention the fierce competition in the world of concert pianists.

Innate talent plays a role.

Some things are just just inborn in your DNA. There are so many different facets of intelligence and physiology that come into play as a concert pianist. You need to be able to memorize scores, the dexterity to be able to play complex passages with your fingers, the ability to hear things acutely, and good hand eye coordination. There are so many aspects that obviously somebody who’s born with these natural skillsets is going to have a much easier time. I can tell you from years of teaching there’s a dramatic difference in how different people learn. Yet interestingly, because there are so many different facets involved in playing the piano, some people have tremendous gifts in some areas and struggle in others. For example, somebody might have perfect pitch but be rhythmically disabled. Simply counting to a metronome might totally elude them. They will have to work 10 times harder at rhythm than somebody else. There are so many aspects to playing the piano. Just because you have weaknesses and strengths doesn’t mean that you can or cannot become a concert pianist. You must develop your strengths and mitigate your weaknesses.

Proper training is a must.

To become a concert artist, you must have superb training at some point along the line, hopefully in your formative years. If you have poor training that has compromised your playing and you’re already an adult, being able to unlearn bad habits and relearn proper piano technique and musicianship is a daunting task that few people will endure. It takes intensive work to relearn something that’s been ingrained for years incorrectly.

Exposure to music is vital.

Being exposed to music, especially from a young age, is so important. You have to live it and breathe it! Go to concerts, listen to recordings. If you’re in a family of musicians you’re surrounded by music and that’s great. But there are some people who just take to the piano and they’re the only musician in their family!

There are exceptions to every one of these rules. There isn’t a cookie cutter way to become a concert pianist. Don’t get discouraged if you don’t check all these boxes and you have hopes for yourself to become a concert artist.

You have to have an unwavering commitment to become a concert artist.

If it’s something you kind of want to do but you don’t have a dedication to it, that’s not really a recipe for success in any field, much less the piano which is so highly competitive. Speaking of being competitive, how about competitions as an avenue? Competitions are one of the few ways to get recognized for your achievements on the piano. But today, there are more fine pianists out there than have ever been around in the world, and the number keeps growing. China in particular has 40 million piano students, many of them on an increasingly high level. Competitions are not for everyone, but if you want to be a concert pianist, it’s one of the few ways to put yourself on the line and see how you stack up. Even if you don’t win competitions, you might be recognized by some of the concert artists who are judges. They might keep you in mind for something. You might develop a relationship with somebody. So, competitions are an important component if you want to become a concert pianist.

Developing and sustaining a career as a concert artist is incredibly difficult.

Versatility at the piano is valuable when trying to carve out a career in music. Being able to play different styles of music with different ensembles and having some kind of creative approach can be helpful. You want to be able to bring something to the table that’s different from everyone else. Playing the same music but maybe just a little better, is that enough? Well, there are tens of thousands of accomplished pianists that are doing that already. Just playing Beethoven’s Moonlight Sonata brilliantly isn’t enough. Even playing the hardest piano literature, there are many people who do that. But if you have a vision for programming or some comprehensive idea of how to expose audiences to music in new and creative ways, you might be able to carve out a career for yourself.

These are all different aspects that go into becoming a concert pianist. If it’s something you really have a passion for and you’re willing to be creative in your approach, you can make a life in piano. You can develop your playing to a concert level if you have the aptitude, the willingness and the training to make it happen. If you have questions I would love to hear from you! At the Living Pianos Patreon I can give you even more personal attention! Thanks so much for joining me. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about used pianos versus new pianos. There’s so much to think about with this subject. It’s really quite vast. When you buy something used, you’re going to save a lot of money. A car loses a lot of value as soon as it’s driven off the showroom parking lot. But there’s a comfort level of buying something brand new. There’s some truth to that with pianos as well. With a new instrument, you know that nothing is worn out. However, interestingly, with a new piano you’re not going to discover its strengths and weaknesses until down the line a bit as it gets broken in, gets acclimated to the environment of your home and other factors. So, sometimes a gently used instrument or one that has been restored can actually be a safer bet.

What is the quality of pianos that are being produced today compared to pianos that were produced decades ago?

The American piano industry was in its heyday 100 years ago, producing vast numbers of pianos. Whereas today, there are only about 1,500 pianos produced each year in this country. If you’re into an American piano, you’re going to have to spend a substantial amount of money to get a new one. A Steinway baby grand or grand piano is going to be in the high five figures. This is true of just about any American piano. European pianos are also extraordinarily expensive.

So, what about Asian pianos?

Most pianos are made in Asia. Have they improved? Well, there have been many new technologies that have come to bear. For example, the use of plastic and other composite materials in the action has been able to reduce costs while adding to the precision of all the parts. Wood is very difficult to work with. One could argue that newer materials like carbon fiber may have benefits. But the real quantum change in pianos has been in the manufacturing process itself. Because pianos used to be made in the old world way, by hand. Many things were done just with a team of skilled technicians. All pianos require a lot of handwork even today in the most mechanized factories. However, there are many parts of the piano that can be machined with precision using robotics, bringing the cost down and the precision up. So, in the very lowest price range, cheap pianos today are better than cheap pianos were decades ago. If you look at the bottom tier pianos from years ago made in this country, they really were not very good. It’s really hard to cut costs without cutting quality.

If you have your heart set on an American or European piano and you can’t afford a new one, finding the right used instrument can be challenging.

You have to know a lot about pianos to understand what you’re getting because pianos wear out. Also, the environment where a piano is kept affects the quality. The question is how great was the piano to begin with? If work has been done, what’s the quality of that work? If parts have been replaced, were they the correct specification of high level parts? So, you have to have some knowledge in order to buy used. But if you are knowledgeable enough, you can sometimes get phenomenal value in the used market. But you must have somebody you can trust, a friend who is an expert at pianos, perhaps a technician, someone who can guide you. Without the proper knowledge, you could end up getting a piano that looks and sounds fine and then you find out about a problem like a crack in the soundboard that you had no idea about! As soon as the weather changes, everything buzzes and you find out the only way to fix it is rebuilding the piano for tens of thousands of dollars. That’s what you want to avoid. But if you can find somebody you can trust, a used piano can be a great resource for you. But as I said, there are also great new pianos out there at lower price points. Pianos have gotten generally better over time in the lower price range and even the mid price range.

I hope this has been helpful for you. Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how piano is a flawed instrument. Now, I love the piano. It’s incredibly expressive. It’s one of the greatest instruments of all time. So I’m not complaining about the piano in any way, shape, or form. But it’s important to understand the limitations of the piano. The piano is a tempered instrument, meaning it can play in all keys. So, every single interval on the piano, with the exception of the octaves, are out of tune.

There are no two notes you can play on the piano other than the octaves that are in tune with one another.

So when you play a perfect fifth, it is not perfectly in tune. How can this be? Well, years and years ago, keyboard instruments were tuned for the specific key they were playing. String players, singers, and other instrumentalists will naturally adjust their tuning to make every interval pure. It’s just not mathematically possible to do that on the piano to be able to play in all keys. Every interval is a little bit out of tune, but they’re all equally out of tune in all keys. That is what is meant by tempered tuning. And we’re so used to it now that it sounds in tune to us as long as the piano is in tune. It’s important to understand this fact.

I recently listened to a piano roll of Gustav Mahler playing his Fifth Symphony, the first movement. If you’re familiar with any Mahler symphonies you know that these are incredibly complex orchestrations. Piano rolls are actual performances of the great composers and pianists from years ago before audio recording existed. A lot of times they don’t sound quite right, because the playback instrument has to be regulated exactly the same as the instrument that it was recorded on for it to work properly. Well, this is an amazing recreation of Mahler’s piano playing, which is astounding! This is an orchestral work with lush strings and brass with a huge orchestration. So, in order to achieve the sustain of these rich sonorities, there are tremolos all over the place. Because if you’re trying to get the sound of sustained strings and you just play the notes, they will quickly fade away. And you certainly won’t be able to create a crescendo.

Gustav Mahler plays his Symphony no.5

A crescendo of one note on the piano is virtually impossible.

There are nuances of tonal shading you can impart using the pedals. A crescendo is a little bit of a stretch, but there is a small amount of crescendo you can achieve by judicious use of the pedals. Starting with the una corda pedal, and then putting the sustain pedal on just as the note begins to fade out will give a little extra swell, but that’s all you’ve got to work with.

So yes, the piano is a flawed instrument. But what a wonderful instrument it is anyway, because of all the things it can do! You have this huge range of keys from the very highest notes to the lowest notes. And you’ve got the ability literally at your fingertips to play complex orchestrations that are all but impossible on just about any other single instrument. So, as flawed as it is, I love the piano! How do you feel about this? I’d love to hear your thoughts on this and other subjects. Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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