Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re going to discuss the secrets to releasing notes on the piano. I don’t know how many of you have ever thought about this, but it has a profound effect on your music. Of course, pianists often focus heavily on how to press the keys—technique, tone, expression—but the release is equally important.

Beyond the Attack: What Happens When You Let Go

You can shape the character of a passage by how you let go of the keys. Whether you aim for a smooth legato line or a slightly detached articulation, it’s the release that determines the space between notes. This is a subtle, but critical element in creating clean, expressive scale and arpeggio playing—not just how notes begin, but how they end.

The Physical Mechanics of Releasing Notes

When you lift your fingers off the keys, the dampers come into contact with the strings and stop the sound. This release process can be managed in conjunction with the sustain pedal, and the speed at which you lift the pedal also dramatically affects tone and character. For example, if you’re ending a Chopin nocturne and you want the sound to gradually fade away, you must release your hands and the pedal very slowly. This creates a gentle, nuanced decay. It allows the final sound to linger beautifully in the air, as you might hear in the B-flat minor Nocturne.

Not All Music Wants to Fade

Now let’s look at a completely different approach. Suppose you’re playing Bach. Remember, Bach didn’t compose for the modern piano. His keyboard music was written for instruments like the harpsichord, where the sound stops abruptly and often includes a clicking noise from the mechanism—historically, duck quills plucked the strings. To stay true to that style, it’s appropriate to release quickly at the end of a phrase or movement. For example, in the first movement of the Italian Concerto, the ending benefits from a crisp, sudden release. This gives the music a rhythmic vitality and energy appropriate to the style. If you were to play that same ending with a slow release, like you might in Chopin, it would completely change the mood. The music would lose its sense of closure and momentum.

Style Determines Release

Conversely, imagine ending a romantic piece like that same Chopin nocturne with an abrupt, percussive release. It would feel jarring and inappropriate—almost like an emotional disconnect. As I like to say, it’s like the emotional equivalent of a tender moment followed by a slap! It simply doesn’t fit. So, when playing romantic music, let your sound linger. Release your hands and pedal slowly. When playing Baroque music—or even more vigorous 20th-century repertoire like Prokofiev—use a quick, clear release to punctuate the energy.

Match Your Release to the Music

How you release notes at the piano plays a major role in shaping the character of your performance. Whether you want the sound to fade gracefully or end with clarity and precision depends on the style and emotional intent of the piece. Be sensitive to the sound and always align your technique with the music you’re interpreting. Let me know how helpful this is for you in the comments here at LivingPianos.com and on YouTube.

Welcome to LivingPianos.com. I’m Robert Estrin. Understanding how to approach the music of Mozart and Chopin is essential for any pianist aiming to play with stylistic integrity. These two great composers come from different musical eras, and while both wrote beautiful music, the way expression functions in their work is dramatically different.

Mozart: Clarity, Structure, and Classical Balance

Mozart’s music is the epitome of Classical form and architecture. It’s carefully constructed, with a clear purpose behind every note. The second movement of his well-known Turkish Sonata K331—a gentle minuet in 3/4 time—is a perfect example of this clarity. The sections are distinct and balanced, and the overall feel is elegant, with a transparent texture.

The Classical period focused on proportion and order. The pianos of Mozart’s time also had a lighter, more percussive tone, a narrower range (about five octaves), and very limited sustain. There were no pedals as we know them today. A lever operated with the knee could achieve some sustained effects, but the overall sound remained clear and crisp. This means that using a lot of pedal or excessive rubato in Mozart would be out of place, stylistically and sonically.

Chopin: Expression, Rubato, and Romantic Color

Chopin, writing during the Romantic era, had a vastly different instrument to work with. The piano in his time wasn’t the fully developed instrument we know and love today, but it was much closer. It had nearly the full 88-key range and more advanced mechanics, allowing for greater dynamic control and expression. Importantly, it had pedals, and Chopin made full use of them.

When playing Chopin, rubato becomes a major expressive tool. This give and take with the tempo doesn’t alter the overall timing, but it allows the performer to play around the beat, giving the music a natural, singing quality. This expressive freedom is essential to Chopin’s style, especially in his waltzes, mazurkas, nocturnes, and other dance-inspired works. Unlike Mozart, where the music’s structure is at the forefront, Chopin’s music prioritizes emotional expression. There’s room for a wide variety of interpretations, and no two performances of the same piece will sound alike.

Different Tools, Different Language

The evolution of the piano plays a big role in how we interpret these composers today. Mozart’s music, born in a time of limited pedal and dynamic options, thrives on clarity and rhythmic precision. Chopin’s music, on the other hand, blossoms with the expressive capabilities of the more modern instrument.

For example, in Chopin’s Waltz in A-flat major, we hear the flexibility of tempo and color. This contrasts sharply with the structure and lightness of Mozart’s minuet. It wouldn’t make sense to apply the same interpretive tools to both pieces. Even though they’re both in 3/4 time, the style and character are completely different.

What Happens When You Switch Styles?

As a kind of experiment, imagine playing Mozart in a Romantic style—full of pedal, rubato, and heavy expression. What happens? The music loses its clean architecture and turns overly sentimental. It feels out of character. Now, try the reverse: play Chopin as if it were Mozart. Keep everything strictly in time, use minimal pedal, and avoid expressive bending of the tempo. Suddenly, the piece feels cold and rigid. You lose the flowing, lyrical line that defines Chopin’s voice. These kinds of comparisons make the distinction crystal clear: the music simply works better when approached with the correct stylistic framework.

Know the Style, Know the Composer

To play Mozart with authenticity, think form, clarity, and precision. Keep pedal use minimal, and let the music speak with its natural elegance. To play Chopin well, embrace the expressive possibilities of the modern piano. Use rubato tastefully, pedal liberally (but sensitively), and aim for a singing tone that brings out the emotional depth of the music.

Understanding the period style not only honors the composer’s intentions, but also helps the music come alive in the most natural and effective way. If you ever doubt that, just try flipping the styles and listen for yourself.

You can listen to the accompanying video and hear what these composers sound when played in each other’s styles. I’m curious to hear your thoughts on the distinct styles of Mozart and Chopin. Which approach resonates with you more when you play or listen to their music? Feel free to share your impressions in the comments here at LivingPianos.com and on YouTube. It’s always fascinating to explore how these differences come across to different people.

Welcome to LivingPianos.com. I’m Robert Estrin. Have you ever watched a musician perform and thought, “Wow, they must have been born with it—they probably never even have to practice”? It can seem that way, especially when you encounter people who go out of their way to make it look effortless. But let’s take a closer look at whether that’s really the case.

The Illusion of Effortlessness

There’s a trend among some musicians—especially young, gifted ones—to downplay how much they practice. It’s almost as if claiming not to practice is a badge of honor, a way to prove just how naturally talented they are. But the truth is usually very different.

I was recently listening to a podcast featuring the phenomenal pianist Evgeny Kissin. Someone asked him how much he practiced as a child. His answer? Not much at first. He could pick things up quickly and get by. But as he matured and tackled more demanding repertoire, the reality set in that he had to practice, and a lot. I had the privilege of hearing Kissin perform a solo recital in Cleveland recently, and believe me, this man puts in the work.

The “I Don’t Need to Practice” Attitude

Back in New York, my wife Florence, a flutist, would often perform with orchestras and ensembles. At rehearsals, music would be passed out, and some players would just leave the music on the stand when rehearsal ended. “Oh, I don’t need this,” they’d say casually. The implication was: this is so easy, I don’t even need to practice.

Florence, on the other hand, would always take the music home. Practicing gave her the comfort and confidence to enjoy the performance, rather than teeter on the edge. Ironically, a lot of those same students probably slipped into the library later, found the same music, and practiced intensely—just in private. So why pretend? Maybe it’s to psych others out, to make it seem like they’re on another level. But the truth always comes out.

A Personal Story: Smoke and Mirrors

Years ago, I attended an in-home concert in San Diego featuring a very accomplished young pianist. He played a phenomenal recital—virtuosic, musical, the whole package. Later, in conversation, he casually remarked that he didn’t really need to practice much. He claimed he could read through most music and learn it that way. Then, he asked to see an extremely difficult transcription that someone had, and began to read through it. He acted like he’d never seen it before. He read through it impressively. He said he enters such a deep state of concentration when he reads that he internalizes the music instantly. Then, to our amazement, he put the score away and played it from memory.

I was stunned. It made me question everything I thought I knew about learning music. But the next day, curiosity got the better of me. I visited his website—and there it was. That exact piece was already listed in his repertoire! It had clearly been practiced and prepared well before this so-called sight-reading miracle. The day after, it mysteriously disappeared from the site. But not fast enough—I’d seen the truth. Later, I found out from people who knew him well: yes, he practiced, and a lot. Hours and hours every day.

Everyone Has to Practice!

So let’s put this myth to rest once and for all. No one becomes a high-level player without serious practice. The idea that some people are just so naturally gifted that they don’t need to put in the work? It’s a fairy tale, often spread by people who want to seem superhuman.

Welcome to LivingPianos.com. I’m Robert Estrin. Some of the greatest composers in history left behind an astonishing legacy, even though they lived remarkably short lives. You may know all these names, but chances are, you didn’t realize how young some of them were when they died. Let’s take a closer look at seven remarkable composers who, despite their short lives, made lasting contributions to music.

Wolfgang Amadeus Mozart

Of course, we have to start with Mozart. Born in 1756 and passing away in 1791 at the age of only 35, Mozart left behind more than 600 works—an extraordinary output that includes operas, symphonies, concertos, chamber music, and more. Just for piano alone, he wrote 28 sonatas and 27 concertos, along with fantasies and variations. His influence on Western music cannot be overstated.

Franz Schubert

Another prolific composer with an even shorter life was Franz Schubert. He lived from 1797 to 1828, dying at just 31 years old. Yet he composed over 1,500 works! That includes around 600 Lieder—beautiful songs for voice and piano—as well as symphonies, chamber music, and 21 piano sonatas. Only 11 of those sonatas are considered fully complete, but what a treasure trove of music he gave us in such a short time. Schubert was truly a master of melody.

Felix Mendelssohn

Felix Mendelssohn, born in 1809 and gone by 1847, lived to the age of 38. His output? Over 750 works. Symphonies, concertos, chamber works, solo piano pieces, oratorios, and much more. He had a remarkable gift for lyrical beauty and classical structure, balancing innovation with tradition. His music continues to be cherished around the world.

Frédéric Chopin

Chopin lived from 1810 to 1849 and died at age 39. His legacy is immense, especially for pianists. Of his 230 or so compositions, the vast majority are for solo piano—etudes, nocturnes, waltzes, polonaises, preludes, and more. He also composed two piano concertos, some works for cello and piano, and a handful of beautiful songs. His approach to the piano changed how the instrument was written for—and how it was understood.

Georges Bizet

Best known for Carmen, Georges Bizet lived from 1838 to 1875 and died at just 36. While Carmen became his most iconic work, he also wrote other operas, orchestral music like the L’Arlésienne suites, and a fantastic Symphony in C Major, which he composed as a teenager. His output wasn’t vast, but it was remarkably high in quality.

Alexander Scriabin

Scriabin was the oldest composer on this list, living to 43. He was born in 1872 and died in 1915, but he certainly belongs in this group. With around 200 works—mostly piano and orchestral works—he was one of music’s great visionaries. He wrote ten piano sonatas, many preludes, etudes, and orchestral works. Scriabin was an early experimenter with multimedia, imagining music integrated with color and light. He even had ideas for a “smell organ”—an instrument designed to emit fragrances as part of a multi-sensory performance. His early music was evocative of Chopin with a Russian flair, but later works ventured into the world of atonality and mysticism.

George Gershwin

And finally, George Gershwin. Born in 1898 and gone by 1937, he lived only 38 years but gave us an unforgettable blend of classical music and jazz. With about 500 works—including Rhapsody in Blue, An American in Paris, the opera Porgy and Bess, and three delightful piano preludes as well as a piano concerto—Gershwin’s music helped define an era and continues to influence composers and musicians today.

Imagine If They Had Lived Longer…

It’s astonishing to think what these composers might have created had they lived even a decade or two longer. Mozart, for instance, was just starting to explore deeper, more complex musical ideas in his final years—ideas that Beethoven later developed even further. The same could be said for all of these composers. Their innovations and craftsmanship shaped the very course of music history.

If you’re thinking of other short-lived composers, certainly earlier figures like Giovanni Battista Pergolesi or Henry Purcell come to mind. But the focus here has been on some of the most popular and influential composers—those whose music continues to touch lives today. And now that you know how young they were, their accomplishments are all the more extraordinary. Share your thoughts in the comments here at LivingPianos.com and on YouTube.

Welcome to LivingPianos.com. I’m Robert Estrin. Today we have an eye-opening discussion about common myths in piano learning. If you’ve ever felt confused by conflicting advice, you’re not alone. Let’s cut through the noise and clarify what really matters in your piano journey.

“You Need to Practice Exercises for Hours”

Absolutely not! While exercises have their place, they’re just a supplement to your real work at the piano. The beauty of piano lies in its vast repertoire of great music. Technical challenges can be addressed musically—by varying rhythms, articulations, dynamics, or even experimenting with hand placement. Play one hand louder, highlight inner voices, or use contrasting articulations between voices. The possibilities are endless.

That said, there are a few exceptions. Mastery of all major and minor scales and arpeggios is essential. Strategic work on octaves, thirds, and trills can be useful too. But these should not dominate your practice. Focus on music, not mindless exercises.

“It Takes Months to Learn a Piece of Music”

Not necessarily. If it’s taking you months, it’s likely one of two things: the piece is too advanced, or you haven’t been shown how to practice effectively. Very few people are taught exactly what to do, step-by-step. With the right method, you can make swift progress. Of course, some pieces, like the Rachmaninoff Third Concerto, are on another level and can take months or years to master. And there are exceptions—like Josef Lhévinne reportedly spending ten years perfecting Chopin’s Étude in Double Thirds. But the core idea remains: proper practice technique shortens the learning curve significantly.

“You Have to Curve Your Fingers Like You’re Holding a Ball”

This advice is widespread—and mostly a myth. The ideal hand position at the piano is one that takes no effort to maintain. Sit at the piano, drop your arms naturally, and let your hands hang relaxed over the keys. Voilà! That’s your natural curve. You’re not actively curving your fingers; you’re simply not resisting gravity. This effortless position ensures all your energy is directed toward playing music, not fighting tension.

“You Must Start as a Young Child”

Starting young has its advantages—just like when learning a new language—but it’s far from necessary. Countless adults have started later in life and achieved wonderful results. Immersion in music, consistent practice, and the right guidance can yield success at any age. If you approach the piano with passion and the right tools, age is no barrier.

“Don’t Try to Memorize a Piece Too Soon”

Actually, it’s the opposite—you should memorize early, not late. The key is to take small sections, learn them in detail, and memorize as you go. Start with one hand, then the other, then put them together. Memorize piece by piece. Why? Because if you memorize incorrectly or too late, you’ll spend more time unlearning mistakes. Memorizing from the beginning avoids this struggle entirely. Read through the piece initially, sure—but after that, learn it correctly the first time.

“Warm Up With Scales First”

Not required. Scales are great, but they don’t have to be your starting point. A slow Mozart movement can warm up your hands just as well. Save scales for later in your session when your mind is too fatigued for detailed memory work. Practicing scales first isn’t wrong, but it’s not essential either. Do what works for you, but don’t feel obligated.

“You Need Perfect Pitch to Succeed”

This one’s pure myth. Perfect pitch—the ability to identify notes without a reference—is extremely rare (about 1 in 10,000 people). It’s not necessary and can actually be a nuisance in some contexts, like group singing when the pitch drifts. What is important is relative pitch—the ability to hear and understand intervals and relationships between notes. Relative pitch can be developed and is essential for musical understanding, with or without perfect pitch.

“Only People with Long Fingers Can Play Well”

Absolutely not. Many top pianists have smaller hands. Josef Hofmann and Daniel Barenboim, are good examples of great pianists with smaller hands. Small hands can actually be advantageous for light, fast passages and fitting between black keys. Whether your hands are big or small, there’s a way for you to play effectively. It’s all about adapting to your anatomy.

“You Must Practice for Hours Every Day”

Quality matters more than quantity. It’s not about how long you practice, but how effectively you use your time—and how frequently you sit down at the piano. Practicing once a week for hours won’t get you far. Practicing consistently with a focused mind—even for just 10–30 minutes—can be incredibly productive. Know what you’re trying to accomplish each moment of your practice, and you’ll make far better progress than someone noodling aimlessly for hours.

“Beginner Piano is Boring”

Not true! There’s plenty of beautiful, musically satisfying beginner-level repertoire. Even basic pieces can be expressive and rewarding. The piano has the richest and most extensive repertoire of any instrument—at every level. You’ll never run out of meaningful music to explore.

“You Need a Grand Piano to Learn Properly”

While a grand piano offers refined action and tonal color, it’s not essential for learning. A decent quality digital piano with weighted keys or a well-maintained upright can take you very far. Eventually, if you aim to perform advanced repertoire, you may want to upgrade. But don’t let equipment hold you back. Many students on digital pianos make excellent progress. What matters more is consistency and technique—not the brand or type of piano you own.

What Surprised You Most?

Those are some of the biggest piano learning myths out there. Which one surprised you the most? Share your thoughts in the comments here at LivingPianos.com and on YouTube.

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re going to uncover a powerful secret that can transform the way you approach your piano playing—how to truly relax at the piano. To demonstrate, we’ll take a look at Chopin’s Waltz in A-flat major, Op. 34 No. 1. But before jumping into the music, let’s lay a foundation with some essential principles.

Strength Is the Foundation of Relaxation
There’s a common misconception that relaxation at the piano is all about letting go and staying loose. But as my father used to say, “The secret to relaxation is developing strength.”

If your hands and fingers are weak, you’ll find yourself contorting your body to make the music come out. Think about trying to lift something heavy—if you don’t have the strength, you’re going to strain, and strain is the opposite of relaxation. But if you’re strong, lifting becomes fluid and easy. The same concept applies to the piano. Without strength, you can’t play with control, and without control, there’s no real relaxation.

Sit Right, Play Right
Before even playing a note, your sitting position can make a huge difference. It’s easy to overlook—maybe you’re in a rush and just sit down without thinking. But the bench position should be precise. You don’t want to be too close, with the bench pressed against the back of your legs. You also don’t want to be too far away. The height matters too—your arms should be relatively parallel to the floor. A proper setup makes relaxed playing possible just like the precise embouchure of a wind player is critical.

The Practice Habit No One Talks About
Here’s something I do all the time when practicing—and I don’t think I’ve ever mentioned it before. When playing a passage, I intentionally give my hand micro-breaks. I let it go completely limp in between small segments of notes.

Let’s look at this Chopin Waltz. There’s a passage that’s long and flowing, and if you try to play it all at once, it can feel tight and awkward. It can even sound forced! But instead of tackling all eight measures at once, break things into small groups. Take just the first few notes. That’s it. If that’s still difficult, break it down further, making sure your fingers are comfortably in position over each next group of keys. Eventually, your hand learns the patterns and positions, and the notes just fall into place.

Let Your Hand Go Limp
Now here’s the secret—when moving from one group to the next, let your hand go totally limp. No tension. But—and this is key—be exactly over the next notes. That’s what keeps you from reaching and straining, which is where tension creeps in. When your hands land already in place, the next group of notes can be played effortlessly. You’re not stretching or fighting the keyboard. You’re just flowing from one hand position to the next.

Build Passages the Smart Way
This technique works throughout the passage. Take the next segment and break it down the same way. You can go as small as you need to. Practice until each group feels totally natural, with no excess effort. Eventually, you’ll have seven little passages that make up the full section. When putting them together, allow that moment of complete relaxation between each one. That’s what makes it all feel light and fluid. Even at full tempo, your hand remembers the shapes and motions. You’re not thinking of an eight-measure phrase anymore—you’re just playing short, relaxed bursts of notes.

Shrink the Space, Keep the Ease
First, take all the time you need. Really let go in between each note group. As you improve, you can shorten the space between them until it flows naturally. Try practicing just two groups at a time. Make the space between them smaller with each repetition. You’ll build control and ease step by step.

Practice Relaxation
This is the secret: Practice relaxation as part of your playing. Don’t just power through long passages. Break them into manageable parts, and insert moments of complete relaxation between them. Of course, make sure you’re sitting properly and continue to build strength—that’s essential. But right now, start practicing these built-in moments of relaxation, and you’ll notice an immediate difference. You won’t feel like you’re struggling through long lines of notes. You’ll be dancing through them in small, comfortable phrases.

Give it a try, and see what a difference it makes in your playing! Let us know how it works for you in the comments here at LivingPianos.com Your Online Piano Resource.

Welcome to LivingPianos.com. I’m Robert Estrin. I recently injured my thumb playing ping pong, of all things! Can you believe it? It’s one of those unexpected turns life throws at you. I practice piano every day, so naturally, I found myself wondering: what could I do with a sore thumb?

Discovering the World of Left-Hand Piano Music

It turns out there’s a remarkable wealth of music written for the left hand alone. I always knew about it, but I never explored it. Why? I never had any issues with my right hand before. But since I have no left hand music repertoire, last night, I sat down at the piano and began to improvise—just with my left hand. It was a new experience, and I found it surprisingly satisfying. I wanted to share that moment with you. Check out the video to hear it!

More Music Than You Might Expect

There may actually be more repertoire written for the piano left hand than some instruments have in their entire solo literature! We pianists are incredibly fortunate in that way. I don’t expect this injury to last long, so I probably won’t be tackling Ravel’s Piano Concerto for the Left Hand or other major works, although they are worthy compositions in their own right. But as worthwhile as those pieces are, for now I’ll stick to improvising and exploring new musical ideas with my left hand.

The Challenge of Resting the Thumb

Right now, it’s all about cold compresses and avoiding any strain. And let me tell you—avoiding your thumb is surprisingly difficult. Not just at the piano, but in everyday life. It’s involved in almost everything you do. So I’m being very careful and giving it the time it needs to heal. Hopefully, I’ll be back to playing with both hands soon!

Welcome to LivingPianos.com. I’m Robert Estrin. I recently received a great question from a viewer: How much does a pinblock cost? As simple as that might sound, there’s actually a lot more to it than you might expect!

What Is a Pinblock?

Let’s start at the beginning. Your piano has an enormous amount of string tension—tens of thousands of pounds! If you’ve ever tried to pluck a piano string, you know they feel rock-solid. That tension has to be held securely, and that’s where the pin block comes in.

You might assume the metal plate on your piano is what holds the tuning pins in place, but in fact, it’s the thick wooden structure underneath the cast iron plate that does the job. That piece of wood, made up of multiple laminated layers of hardwood, is what we call the pinblock.

Why It’s Not a Simple Repair

If your piano won’t hold a tuning anymore, it could be due to a cracked pin block or loose tuning pins. So, you might wonder—can’t you just replace the pin block? How much does that cost? Well, that’s where things get complicated. Pinblocks aren’t off-the-shelf items. They are custom-made for each individual piano. Replacing one means essentially entering into a piano rebuilding process. First, the piano must be disassembled. The strings and plate need to come off. Only then can the process of fitting a new pin block begin.

A Very Precise Fit

The pin block has to fit perfectly flush against the plate, and because the shape of the plate is irregular, this takes incredible precision. A rough shape is cut, and then chalk is applied to the area where the pin block meets the plate. The pin block is pressed against it, and the areas marked with chalk are carefully shaved down. This is repeated—again and again—until the pin block sits perfectly flat against the underside of the plate. Once the fit is exact, the tuning pin holes must be drilled with tolerances down to thousandths of an inch and at specific angles. This isn’t one-size-fits-all work. Every pin block replacement is its own unique challenge.

But You’re Not Done Yet. Once the new pin block is in place, the piano must be restrung—we’re talking about 220 to 240 strings. And when you do that, the damper felt often needs replacing as well. If the dampers don’t seat perfectly, you’ll end up with buzzing or other unwanted noises. That means the damper regulation has to be redone too.

Other Work That Often Comes With It

A thorough rebuild usually involves much more. Anywhere the strings touch metal, like the bridges, may need attention. Worn bridge caps and pins can cause grooves that interfere with string termination, and that can affect the tone. There’s also the capo d’astro bar in the treble range. That’s the part of the plate that bends down over the strings. Over time, it can develop grooves too, and should be smoothed out for best performance. Then you have the agraffes—the little brass guides with holes for the strings near the front of the piano. These also wear and can cause tone issues or buzzing. Smoothing or replacing them can be necessary as well.

Why Do All This?

Some rebuilders cut corners. But if you’re going to go to the effort of rebuilding a piano, why not make it as good as it can be? Done right, a rebuilt piano can sound as good or better than when it was first made, depending on the era and original craftsmanship.

So, back to the original question: how much does a pin block cost?

Just the pin block work alone might cost under $10,000. But since it requires a full rebuild, you’re realistically looking at $20,000 to $30,000 for the complete process. Some high-end rebuilds can even reach $50,000 or more, depending on the piano and the quality of the work. It’s a complex subject, and it’s easy to see how a simple question can open the door to a deep and fascinating look into piano construction. I hope you found this information enlightening!

Thanks for joining me here at LivingPianos.com, Your Online Piano Resource.

Welcome to LivingPianos.com I’m Robert Estrin. How Should You Be Practicing?
This is one of the most important questions for any pianist. There’s a lot to consider, but I’ll walk you through a simple and effective structure. I like to think of a good practice session like a well-balanced meal. Start with a warm-up as the appetizer, move on to memory work as the main course, and finish with something fun like review pieces for dessert.

A Balanced Practice Plan

To sum it up, a well-rounded practice session might look something like this:

1. Warm up gently
2. Work on memorizing new material
3. Refine what you’ve already learned
4. Do some pure technique work
5. Enjoy review pieces
6. Explore new music with sight reading

This mix keeps your mind engaged, your technique sharp, and your repertoire growing.