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Picking the Right Musical Piece to Study

June 17th, 2013

A very crucial moment in the development of an instrumentalist or singer is the selection of their next musical piece. As a teacher, knowing what repertoire to give students in order to aid their development is incredibly important in furthering their progress. So what is the best piece to add to your repertoire? How do you know?

It is best to progress methodically while learning and mastering an instrument. It is a good idea to select a piece that will not take an inordinate amount of time to learn, as it could hinder progress. When a student progresses to an advanced level in their playing, musical selections can take weeks or even months to master. On an elementary level however, you will not want to spend more than a couple of weeks on a particular piece before it’s learned. Of course the student may live with the piece longer refining it further as they tackle additional repertoire.

Some teachers might give their students a piece that takes nearly half a year to learn. In that same amount of time another teacher could give their student a dozen different pieces to learn which can each be mastered much more quickly. By the time the one student masters his only piece; the other student will have mastered twelve and may be on a more advanced level than the other student and will have a much larger repertoire!
Another important aspect of becoming a musician is having a repertoire of music to play. You wouldn’t want to know only 2 or 3 pieces of music. So, it’s better to learn many different pieces. If you take a progressive approach to learning music you will always be expanding your repertoire and your level of playing will gradually improve over time. It also offers the benefit of covering a wider range of composers and styles of composition.

One challenge with a progressive approach to repertoire is that one size doesn’t fit all! There is no guide to tell you what piece to pick next for everyone and there are plenty of occasions where students desperately want to learn a piece above their skill level. If they decide to tackle a such a piece, they will need to dramatically increase their level of practice; they will need to dedicate more time and energy then they ever have before into learning the piece. I have had students rise to the occasion and achieve their goal and become a higher level musician in the process. However, it is a rare student who is capable of this kind of quantum leap of development.

For the most part, gradual progression is the best practice for becoming a better musician and mastering your instrument. It seems that some teachers will want to glorify their own image based on what their students are studying and force them to progress too rapidly rather than letting them develop refinement in their playing. It is much more important to master your music than simply being able to get through pieces.

Thanks for reading. Robert@LivingPianos.com (949) 244-3729

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How to Prepare for a Piano Exam

June 17th, 2013

This has been a common question for me; many students have asked me what I would recommend to help them prepare for upcoming piano exams. I remember my days in music conservatory preparing for piano exams in preparation for recitals. In case you aren’t familiar, piano exams consist of sitting in front of a jury who generally spot check the music. This can be a daunting process!

The tests consist mostly of being asked to play certain selections from your current recital program. You may be stopped abruptly in the middle of your playing. This can happen throughout the exam and become very disconcerting if you don’t know what to expect. You might feel that they think you are playing badly but this is just part of the procedure and there is nothing to worry about.

But how do you prepare for this? The best thing to do is to practice like you would for a recital. While you might only be playing certain selections from your music, you should be prepared to play the entire program since it’s impossible to predict what they will ask for, just like any audition.

An essential practice technique is practicing without the pedal – this can be incredibly beneficial because you will hear more detail so your hands and fingers zero in on corrections quickly. You should also practice with the metronome and also combine these two techniques. These are essential piano practice techniques that will solidify your playing.

More than any physical technique, you will want to live with the music inside you. Play the music mentally away from the piano. Making yourself play the music away from the piano will better prepare you when you actually play on the piano. In order to play the piece in your head without even moving your fingers or looking at the keyboard, you have to be incredibly familiar with the score. It can be very reassuring to get the music mastered on this level. No matter who you are or how well you are prepared, mishaps can happen to the best concert pianists. In the event of a mistake, you must recover quickly and keep the music flowing. Knowing your scores enables you to keep the flow of the music going no matter what happens.

You may learn your scores so well that you literally play them in your sleep! When you sit at the piano you will want the music to come out of you with minimal effort. However, you will not want to play your music on autopilot. You should constantly stay focused on what you are doing and where you are in the piece instead of relying on tactile memory.

When preparing for an exam or a recital, performing a practice run through in front of family or friends is absolutely essential. If the first time you perform your music it is in a high pressure situation, you will be at a distinct disadvantage. Try working with your colleagues testing each other through mock piano juries! Have them stop and start you abruptly - have them even critique you in a stone-faced manner. These techniques will benefit you when the time comes for your actual exam.

Remember that auditions are not necessarily satisfying musical experiences. The judges may have listened to dozens of students before you even show up. They may be tired and hungry. They are simply getting a job done. Their demeanor doesn’t necessarily reflect upon you. Remember that they are not there for the same reasons you are - they are simply there to test.

Prepare the best you can and test yourself with informal performances and mock auditions and you should do just fine on your piano exam. Thanks for joining me, Robert Estrin – Robert@LivingPianos.com (949) 244-3729

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What’s the difference between a Composition and an Arrangement?

June 11th, 2013

You’ve probably heard these terms before and there are many differences between them There are also different aspects to each of the terms themselves. In this article I will discuss the differences between compositions and arrangements and the differences that can lie within each of these two categories. To put it simply:

Compositions are musical pieces that are conceived as a complete work written for a specific instrument or group of instruments. Generally compositions are to be played as written because it is what the composer intended. The nuance of expression is imparted into the framework of the piece and everything from the notes, rhythm, and all other aspects are as the composer intended. Like an actor in a movie, you will bring your own unique voice to a composition and that will be what separates your performance from others.

Arrangements are pieces of music originally written for one instrument or group of instruments and then transcribed for another instrument. Arrangements can also be a piece of music that is simplified or embellished from its original form without changing the instrumentation. A great example of this would be if a piece of music originally written for the piano is then transcribed for an entire orchestra. There are a number of different reasons for arrangements but generally the rules are the same – they are interpretations of music which sometimes create entirely new musical aesthetics from the original. In modern pop music these are referred to as a remix.

Arrangements sometimes encourage the player to embellish, simplify, or improvise with the music in front of them. Some arrangements are not written with strict guidelines in mind so it allows musicians the opportunity to express themselves in ways that compositions might not allow for. While some arrangements are simplified versions of famous pieces, others are highly stylized technical displays.

Transcriptions are a form of arrangement that are generally meant to be played as written. They are musical selections that are taken from one instrument (or group of instruments) and meticulously transcribed for another instrument. A great example of this is “Pictures at an Exhibition” by Mussorgsky. This piece was originally written for solo piano but was later transcribed by Maurice Ravel for Symphony Orchestra. Today, the orchestral version is much more widely played and heard than the original piano version! Some transcriptions are embellishments of original compositions like the Paraphrases of Chopin Etudes by Leopold Godowsky.

You will want to make sure you know whether a piece you are studying is a transcription or an arrangement because there is sometimes a fundamental difference in how you approach the two. An arrangement is generally a fun and new way to share music, while a transcription can be a more serious musical statement.

Thanks for joining me, Robert Estrin: Robert@LivingPianos.com 949-244-3729

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Piano Lessons: How to Add Emotion to Your Music

June 11th, 2013

For a lot of musicians, it’s impossible to ignore emotion in music; it comes out naturally. However, there are ways you can express yourself and show more emotion in your music – making it a much more powerful experience for your audience.

You might find that the music you are studying or playing gives you an emotional impact but you might wonder if you are translating that to your instrument and the audience. You must overcome the technical challenges needed to express yourself freely. The first thing you will need to do is practice your music thoroughly tackling problems and technical issues.

Now here is the fundamental problem. If you practice a piece over and over again in hopes of being able to play it perfectly, will you still have the same love and emotion for it? Or will the task of studying and practicing a piece extensively destroy the enjoyment you once had for it? It’s a common problem for musicians who lock themselves up in a practice room for hours every day trying to perfect their music only to emerge with a disdain for the music they once loved. There have been a number of times I’ve attended recitals and watched incredibly capable instrumentalist put on boring performances! All too often the performers have lost track of why they are playing their music to begin with; they’ve lost their love of music and possibly the joy of life.

But how do you avoid this while mastering your music? The first thing you can do is to practice effectively. Practicing with the metronome a great deal builds a solid foundation. This can offer you freedom when performing (without the metronome) since you will not stray too far becoming self indulgent when expressing yourself. Practicing the piano without the pedal is also fundamental building clarity in your music. These are simple and effective practice techniques. When you finally get to add the pedal and play without the metronome, it feels so good hearing the music in all its glory. The benefit of the structured practice gives you the freedom to express yourself in performance.

Another important things to do is to play for other people on a regular basis. It doesn’t matter how much you practice, until you get out in front of an audience and actually perform, the music doesn’t come to life. It’s like practicing for a job interview - no matter how much you practice, it will never prepare you for the actual conversation. It’s all about communicating which involves give and take.

Most of all, you must find balance in life. You need to enjoy your life and your work and you can never achieve this if you let your work consume your life. Sometime the best thing to do is to step away from the music and allow yourself to recoup and eventually fall in love with it again. Like the old saying goes, “Absence makes the heart grow fonder”. You really should feel this way about your music. When you are away from it coming back feels so good! You will experience joy in your life and in your music!

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Piano Lessons: How to approach polyrhythms

June 5th, 2013

I have been asked to create piano technique videos for the great website: VirtualSheetMusic.com
Here is one for you to enjoy. You may follow the link to watch others.

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How to Simplify Musical Notation

June 5th, 2013

Some musical scores can be extremely complex. Sometimes there are situations when someone needs a pianist desperately and there simply isn’t enough time to completely digest the score. People will be grateful for you to be able to accommodate them. This is when simplifying a score can sometimes be a lifesaver!

One example might be attending a Christmas party and a singer hands you some music and asks if you could perform a few Christmas carols for the group. You pick up the book and take a look and realize the pieces are embellished arrangements which contain a lot more notes than you would be able to play instantly. Don’t worry; there is a solution for this. I’m going to provide a few tips to help you achieve this.

Piano scores are much more complex than most instruments because you have two hands playing in multiple staffs. In the case I just described, removing some notes can still leave the integrity of the song; but which ones should you play? Usually the top note is the melody and the bottom note, the bass provides the structure; these are essential to play. As long as you have the bass and melody you can work on fleshing out what’s in the middle. Generally you would want to avoid doing this sort of thing with serious musical compositions unless it’s a desperate situation with no alternatives for the soloist or group you are accompanying. But arrangements are a great place to use this technique since they are arrangements anyway. In fact, sometimes you may encounter simplified arrangements you may want to embellish!

Overall, simplification can be useful to familiarize yourself with an accompaniment with a tight deadline, or to enjoy playing musical arrangements for fun. And remember, the easy way to simplify is to offer the structure which consists of the bass, the melody and whatever other notes you can add to make a pleasing musical performance.

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How Many Strings Are On a Piano?

May 29th, 2013

Like most things when it comes to the piano, this question does not have a simple answer. There is no absolute standard for how many strings are on a piano but there are some general guidelines that can shed some light on this question.

Some people might assume that since there are 88 keys on a piano, there would be 88 strings; but this isn’t the case. Most keys on the piano actually strike 3 strings when depressed. They are steel strings that run from the highest treble all the way to the bass section. Once you hit the bass section of the piano, the strings become copper wound and there are less of them per note (2 and eventually 1 on the lowest notes).

Now the problem in figuring out how many strings are on a piano depends on something called scale design. Scale design is a complex topic which I’ve covered in the past:

http://www.youtube.com/watch?v=uKoMOpc6TDQ

But basically what you need to know is that all pianos have unique scale designs with different numbers of strings in each section. Each piano switches from the triple steel strings to copper strings with different numbers of dual and single copper bass strings!

So the simple answer is you can’t say how many strings are on a piano exactly, but it ranges generally from about 220 to 240 strings.

Now this really should give you a renewed respect for your piano tuner if it hasn’t already! They have to tune every single one of those strings making sure they are all in proper pitch with each other. The octaves and intervals have to sound as pure as possible; their are also overtones to deal with - the process is actually quite complex.

Thanks again for watching and reading; there is plenty more on the way. Robert Estrin: Robert@LivingPianos.com (949) 244-3729

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What’s the Difference between Allegro and Moderato?

May 29th, 2013

To put it in simple terms, in a musical context: Allegro mean fast; while Moderato means moderately fast. (Actually, the Italian translation of Allegro is actually “happy” and Moderato means “moderate”). But these two terms can be confusing – how do you judge fast? What is moderately fast? And really, the speed really depends on the context of the original score; every piece has different requirements.

You might have even seen some metronomes which indicate Allegro from a certain number to another and other markings such as Andante with a range as well, but this is actually quite ridiculous. Each piece has a certain pulse to it and Allegro can’t be quantified in this way.

The biggest thing to remember is that Fast and Slow are Not Absolutes. The speeds and the markings are simply characters of the piece.

So where exactly to do these terms come from? They are Italian words. This is mostly because Western music has its roots in Western Europe and Italy was a big epicenter for music. Eventually their terms were adopted by most of the music community.

If you study French or German music, sometimes you will run into a bunch of different terms from their languages. I suggest getting a dictionary, or use online or smartphone resources. Some of the German terms are so long they are almost impossible to pronounce!

Thanks again for watching, Robert Estrin Robert@LivingPianos.com (949) 244-3729

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Piano Lessons - How to Play Loud! Playing Loud on the Piano

May 22nd, 2013

How do you get a good sound when you’re playing the piano loud? This really is much tougher than you might think. If you have ever been around someone who is banging on the keys of a piano you know the sound can be incredibly harsh. Even the most glorious of instruments can sound horrible when played incorrectly. So what’s the secret?

The first thing is learning what not to do. You must be aware the piano is incredibly sensitive to how you approach the keys. If you merely slap the keys, you’re going to get a harsh sound. A piano is not like most instruments. Most instruments have a direct access to the production of sound – especially when it comes to woodwind or brass instruments as well as string instruments. The tone you get out of a piano relies on how you approach the keys.

The proper method is to caress the keys; like a masseuse (with deep energy) it will create a beautiful and warm sound. How do you achieve this? The secret to getting a good tone is to always strike from the surface of the keys. If you strike from above, you will get a harsh sound.

A lot of times you will see pianist throwing their hands up and down and it looks like they are banging on the keys; it’s all an illusion. This is purely for show. If you look at a great pianist, like Arthur Rubinstein playing the Ritual Fire Dance, he would throw his hands up and down as part of the performance but when it came to actually playing the piano, he would strike from the surface of the keys.

The best method is to simply place your hands on the keys and then drop all the arm weight and pressure directly to the bottom of the keyboard all at once. Try this at home. Put your hands over the keys, don’t press them down at all, and then drop all the pressure and weight at the same time – you will produce a clear and beautiful sound no matter how much energy you exert on the piano.

The exception to this is rapid staccato chords or octaves in which the wrists are called into play for a combination of speed and power.

http://www.youtube.com/watch?v=FkWx0Xwldgk

I hope this technique is helpful for creating rich, fortissimo piano playing for you!
Thanks for joining me, Robert Estrin. Please feel free to contact me about any piano questions at all:

Robert@LivingPianos.com (949) 244-3729

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What is a Conductor Score? Musical Scores Part 2

May 22nd, 2013

If you have ever seen a conductor score you know that it looks extremely complex. For a lot of musicians, you simply have one staff of notes to deal with in a piece. As a pianist you have two staffs of music (generally bass and treble) and an organ might have three (bass, treble, and foot pedals). A conductor score is filled with every part – strings, woodwinds, brass, percussion; if it’s a part of the composition, it’s in there!

The string players will double the parts, so you have a number of first violins playing one part and second violins playing another part, and then there are the cellos, violas, and basses playing their parts (and often doubling, tripling, or even more).

The woodwinds and brass generally have their own parts - so the conductor score is often filled from top to bottom with musical staves!

The question is, how do you make sense out of all of this? Unfortunately, this is just the tip of the iceberg. It’s actually quite a bit more complex than that!

A conductor score has more than just treble and bass clefs – viola has its own clef, there are C clefs which can occur on different lines (and they often change within the piece), and the same thing can be true for other instruments as well. And to make matters even more complex, many of the instruments are not pitched in C – they are transposing instruments. A great example of this is a clarinet or trumpet (which are usually pitched in B flat) or a French horn which can be pitched in nearly any key, often changing keys for each movement of a work!

So this means when a conductor sees a C written for a French horn in F, he needs to know that the absolute pitch is actually an F. In other words, a conductor has the incredibly tough job of transposing music instantly – all the different clefs and keys – and make sense of it.

How is this even possible?

I’ve seen a number of conductors who can look at a score, reduce it down to the piano at sight, and see the absolute pitch of all the parts of the score instantly. They usually become very adept at fixed-do solfeggio so they know absolute pitch on a score and they are able to communicate with the rest of the orchestra. This way they can tell each of the instruments which notes to play and understand when there are wrong notes.

To get fluid with this you will really need to become comfortable with all your clefs and transpositions; this can take years to master.

But for most people, you can approach it like this. If you look at a conductor score you can understand that the string parts are going to be in C, and if you have other instruments they may transpose. This way you can get a general sense of the score without necessarily absorbing all the details.

I strongly recommend familiarizing yourself with the score of the piece you are playing; whether they are orchestral works you are playing a part in, chamber music, or pieces with piano. Knowing what is going on with other instruments is essential to be able to play your part in context.

Thanks for joining me Robert Estrin: Robert@LivingPianos.com (949) 244-3729

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