Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about improvising using diatonic seventh chords. I’ve been to many conservatories and master classes. Improvisation is almost never taught unless you’re a jazz major. It’s really shameful. As a matter of fact, I remember once meeting a pianist who was doing master’s work at Julliard in piano performance who couldn’t play Happy Birthday by ear! Isn’t that a sad fact? I’m here to show you some very simple improvisation techniques you can use in your playing. If you’re a sophisticated jazz player, this might not be of great value to you, although you might get something out of it. But for those of you who think you can’t improvise, you can! A great deal just comes down to having a command of some basic theory.

You have to know what notes to choose among when you’re improvising.

I’ve talked about simple things like improvising utilizing the dorian mode, but today is a little bit different. I’m going to talk about diatonic seventh chords. Now, that’s a mouthful! What am I talking about? First of all, what are seventh chords? I’ll just give a very quick theory primer, because it’s not that complex. It’s only complex if you don’t know your key signatures and your major scales. You have to learn those first before you can do much of anything with improvisation. It also is unbelievably helpful for your sight reading and learning music. So any of you who haven’t learned your key signatures, I highly recommend it. I’m going to assume you know your key signatures for this lesson, because it’s all based upon that. If you would like a video tutorial on key signatures, just let me know in the comments.

What are diatonic chords?

Well, first of all, what are chords? Chords are notes arranged in the interval of thirds. What are thirds? Thirds are notes of the scale that are three notes apart counting the first and last note. The notes in a scale are all seconds apart. If you skip one note between each scale degree, you have thirds. 7th chords consist of 4 notes: a root, third, fifth and seventh. That’s why they’re called seventh chords! The interesting thing is that you can do this in any major key. If you are in C major, you play every other white key going up from C to form a 4 note chord, C – E – G – B. If you are in D major, you can leave out every other note of the D major scale. You’re left with a D major 7th chord: D – F-sharp – A – C-sharp. You can do this in any key. But that’s just the one-seven chord. That’s a seventh chord built on the first scale degree. What about a two-seven chord? You can start on the second scale degree and have a two-seven. So in C-major, a two-seven will be D – F – A – C. You can start on the third scale degree and have a three-seven chord, and so on.

How does this apply to improvisation?

If you just want to play something really simple, you can go from a one-seven chord to a two-seven chord, back and forth. You can use any note of the scale to make up a tune in your right hand. If you find that easy, you can continue going up to three-seven, then to four-seven, then back down to three-seven, two-seven and finally one-seven. It’s a lot less complicated than it sounds. Here’s the beauty of it: you don’t have to play fast. A lot of times, people see great artists playing a mile a minute and think you have to play fast to improvise. You don’t have to play fast! You just have to make melodies. Strive for something that you would want to sing. It doesn’t have to be fast. It doesn’t have to be technical.

If you find that you’re having difficulty, the difficulty is most likely going to be with your left hand, believe it or not.

It can be challenging keeping the left hand rhythmically coherent, where you’re not changing the chords in random fashion, but holding each of them the same amount of time. You can use a metronome for that. Or better yet, find a drum beat on your keyboard or on YouTube to play along with. The best way is to play with other musicians where there’s give and take. But you can get your feet wet just by finding a drum beat to play along with. YouTube is loaded with drum beats. Just come up with any kind of drum beat you can imagine, like lounge drums, swing, or a shuffle drum beat, and you’ll find them at different speeds (BPM, Beats Per Minute). People have posted just about every kind of beat you can imagine on there! Find one that’s a speed you like, and then experiment!

Try it out for yourself!

Start off in C major. If you’ve never improvised before, just go from a one-seven to a two-seven in C major – back and forth holding each chord for 4 beats. Make sure you maintain the integrity of the comping. In your right hand, just play any white keys. Try to vary how long you hold notes. And play some notes at the same time you play the chords, and sometimes play chords without playing notes at the same time in your right hand. If you have friends who play music, comp for them and let them solo, and then let them comp for you while you solo. Comping is playing the chords behind the solo. Improvising by yourself, where you’re doing both the comping and the soloing is hard at first. If you have musical friends, this can be so much fun for you! When you get into things like blues, and if you learn how to read a lead sheet, which has just the chord symbols and the melody line, it opens up vast possibilities of music for you in a myriad of styles from folk to rock to new age, jazz, blues, country, you name it! This is a great way to get your feet wet. Let me know what you think! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is personal. I found an old video of an improvisation I did with my nephews which I’m going to share with you today. Google photos is really cool, because you can go through and look up places or time periods. All the pictures or videos you took from that time or place come up. I was just exploring that the other day and found an improvisation I did with some family members almost seven years ago! It was just a spontaneous thing that popped up and I thought you would enjoy it.

Let me tell you a little bit about these guys.

They are my nephews. Both of them are very accomplished musicians. First, there’s Sean Kleve. Sean is a percussionist. He graduated from the Manhattan School of Music. He’s played in all kinds of orchestras and such. He has a great percussion ensemble called Clocks in Motion, which is worth checking out. In high school he was very accomplished on piano. He even played the Grieg Piano Concerto with orchestra. Currently, he’s got a really cool Twitch. If you go to Twitch you can see his video streaming playing harpsichord. So if you’re into harpsichord, you’ll definitely want to check that out!

My other nephew, who plays the other piano in this video is Evan Kleve. Evan is a really accomplished violinist. He’s done everything from playing with symphony orchestras to touring with rock bands. He’s also a really fine trumpeter. One night, it was late, there were no preconceived notions, we just started playing together. I thought what came out was really cool! I encourage all of you, whether you have training or no training, to try improvising. Sometimes things just come together. I hope you enjoy this.

See the video here

You may have noticed a little cameo from my daughter, Jenny, who walked through. This was one of those late night jams. All kinds of things were happening. We had a great time. Nearly my entire extended family are musicians of one sort or another. Whenever we get together, there’s all kinds of music! I thought I’d share this little personal glimpse with you. I hope you enjoyed it! If you like these sorts of things, let me know in the comments below! Thanks so much for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

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So many of the great composers of all time from Mozart to Chopin dazzled audiences with improvised music. Because of the reverence for the legacy of scores the great composers left us, it creates the incorrect impression that everything they did was written down. It’s actually quite the contrary!

Most of the music of the great composers was played spontaneously!

We only have the written scores they thankfully took the time to write out since audio recording hadn’t been developed yet. We can only imagine what masterpieces came out on the spot from the great composers and pianists of the past!

Naturally these informal performances planted seeds for works they would craft later on. Imagine being in a salon hearing Liszt take off with flights of fancy with no predetermined musical destination!

Today, jazz artists carry on improvised music improvised music.

While most jazz is based upon previously composed music, there are some artists who delve into freeform improvisation which can be quite fascinating.

I have always enjoyed making up music spontaneously. What’s funny is that going in, often times I have no predetermined game plan whatsoever as in the accompanying video. The sound of the piano as well as my deep, inner mood (which I may be unaware of at the time!) guides the music.

It’s a little bit like being naked – being open to revealing the most intimate feelings with disregard for what they may be.

The challenge is to not judge what is being played – keeping the expression honest. Every piano inspires different music. Each day brings fresh melodies. I hope you enjoy these videos. Robert@LivingPianos.com 949-244-3729

Improvisation is something that seems almost impossible when it’s done effectively. If you’ve ever seen a comedy act in which they improvise using different objects or ideas it can be incredibly entertaining and it’s amazing to watch people come up with such great ideas out of thin air.

In a lot of ways it’s how we used to think as a children; coming up with elaborate stories and creative games is something that comes naturally. Over the course of our development in society we are taught to temper these creative aspects of our personality in order to conform to a more strict set of rules. However, inside all of us lies the ability to be creative and let ourselves go – it’s just really a matter of re-discovering those aspects of ourselves!

When it comes to music, there are many different types of improvisation. Many genres of music have structure in which improvisation is built on. For example, when it comes to great jazz artists (like Chick Corea or Miles Davis) they will perform improvisations on a song that is somewhat pre-determined. There is a melody and theme to the music that stands as a foundation and throughout the course of the song they improvise and embellish it by using improvisation to change the melody, harmony and the overall arrangement. One of Miles Davis’ albums, “Bitches Brew” had over 20 musicians – including multiple percussionists – in the same room playing at the same time. Without some sort of foundation to the music it would sound like chaos. While there might not have been a pre-determined course for the music, a consistent rhythm section is able to keep the piece intact while other instruments improvise different melodies and solos. However, this is by no means the only type of improvisation when it comes to music.

Keith Jarrett is an artist who would go out on stage and play an entire concert that is totally improvised and not based on any previous material. Sure, there might be some riffs and chord changes he’s played a number of times before but the actual structure of the music is purely improvised with new melodies and structure every time.

There are dozens of different types of improvisation when it comes to music. Indian Ragas are another example of improvisation where a number of musicians will get together and play a piece that could sometimes last 90 minutes and is improvised above a consistent drone.

When it comes down to it, there are really two main types of improvisation. One that is built upon a foundation and one that is purely made up. A lot of improvisation will blur the lines between the two and form their own unique styles. For example, I like to improvise classical pieces. I have grown up with music and have a strong understanding of this musical language so I find enjoyment in making up pieces or taking existing pieces and improvising with them.

There are countless different ways in which you can improvise with music and all of them can be both rewarding and beneficial to your musical development.

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

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s topic is about the power of the perfect authentic cadence. Have you ever heard of this before? Well, I’m going to show you way more than that today! And what you’re going to learn here today is going to help you with your sight-reading, memorization of music, and improvisation. It’s that basic and important. It’s unbelievable. I’m surprised I have not done this video before because it’s so important.

What is a perfect authentic cadence?

In its simplest form, authentic cadence is basically just a five to one with some passing tones.

But what I want to show you today is even more valuable. It’s essentially how to establish a key with primary chords. What are your primary chords? Primary chords are your major chords. If you go up your scale and play chords on all 7 of the scale degrees, you have major chords on one, four, and five. The other chords are secondary chords. Your two chord, three chord, and six chord are minor chords. And your seventh chord is the one diminished chord, the outlier. So you have the one, four, five which are primary chords

Seventh chords are as follows. I7 and IV7 are major seventh chords. II7, III7 and VI7 are minor seventh chords. The VII7 is a half-diminished seventh chord. Why half-diminished? Because it is a diminished triad with a minor seventh.

And the V7 is the strongest chord of all – a major triad with a minor 7th which creates the dominant 7th chord. This chord is so powerful because it can establish the key with just this one chord. So here’s a great voicing for your basic four-part perfect voicing, resolutions, note leadings, and distance between all the notes. It follows all the classic rules of harmony.

Why do we have these rules?

We have these rules because they sound good! That’s why Bach, Beethoven, Mozart, Schumann, Schubert, and all the great composers wrote utilizing this basic structure in their music. Musicians analyzed all their great music and realized the truths behind it—the gems of truth that date back to Bach chorales. This basic chord progression is I, IV, I6/4, V7 I. You have nice voice leading and good spacing between the bass and the tenor, because it sounds better that way. Notice with the V7, it has the root, the seventh, and the third, but there’s no fifth. (It’s missing D.) Why would that be? It achieves better resolution. Doubling the root and leaving out the fifth can help to avoid the four going up to five because it resolves better going down to three (F resolving downward to E).

Why is this chord progression so basic and intrinsic to music?

Knowing all your primary chords and how to establish a key is enlightening in your music because it intrinsically makes you understand the harmonic underpinnings of all the music you play, read, or improvise. You can do this same chord progression in all major and minor keys. Once you get comfortable with all your keys, you can start expanding your repertoire of chords. A substitution for a four chord is a two chord in the first inversion, a II6.

Or you can spice it up even further with what’s called a Neapolitan sixth. What’s that? A Neapolitan sixth is like the II6, except it’s a major triad built on the flatted second degree of the scale. It’s almost like your II6 chord, but with two flatted notes. So you get a different flavor.

You can get to the point where you can modulate using a V7 of another key.
For example, if you used a D7, D is the five seven of G.

And instantly, you can modulate to G major! Start in C major, go to the D7, the dominant seventh, (the major triad with a minor seventh), and there you are in G major! And if you want to go to F major, the C7 (dominant 7th chord) brings you to F major.

The dominant seventh, the V7, is the secret to modulation.

Any time the key changes, the dominant seventh chord is pivotal. The V7 chord is almost always responsible for changing keys in music. Sometimes a diminished seventh can accomplish it too, but there’s nothing stronger than a dominant seventh chord for bringing you to a new key in music.

What is a dominant seventh chord?

A dominant seventh chord is a seventh chord built on the fifth scale degree. Build a chord on the fifth scale degree, (which in C major would be G B D F) and you get a major triad and a minor seventh. It’s the only place that exists in a scale. You can build seventh chords starting on any other note of the scale, and only the V7 has this arrangement.

I7 is major, II7 is minor, II7 is minor, IV7 is major, and V7 is the major triad with a minor seventh, it is the powerful dominant seventh chord. VI7 is minor, and VII7 is half diminished. Why half? Because it has a diminished triad and a minor seventh.

So the power of the dominant seventh can’t be stressed enough. For example, when you’re playing a sonata movement, they almost always modulate to the dominant (the key five scale degrees above the key of the piece). How does it modulate to the dominant in the exposition? Typically, it uses a dominant seventh chord! There’s modulation in so much of your music and the pivotal chord that gets you there is the V7, the dominant seventh chord, a major triad with a minor seventh

What is modulation?

Modulation is changing keys. For example if you start with a piece that has no sharps or flats in the key signature, then suddenly you have F sharps all over the place; you’re probably in G major! That’s an example of modulation. What gets you there? The D dominant seventh chord, which is the dominant of G (the fifth note of the G major scale).

So try to play this chord progression in all keys! I promise that you’ll have tremendous benefits in your playing. You’ll understand your music on a deeper level. You’ll be able to learn music more quickly, read music more effectively, and improvise music with more fluidity. Try it out for yourself! Let me know how it works for you in the comments here at LivingPianos.com and on YouTube! Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

Sheet Music Download for this lesson

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Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to share with you 20 skill sets you need at the piano. I tried to narrow it down to the absolute essentials for you. You can check to see how many of these skill sets you have. There are some things you might not have thought of that could be really important for you to take your piano playing to the next level. I’m going to start with the most important thing for classical players and something that’s great for anybody, which is…

Memorization

You may think you just have to be born with a great memory, but that’s not true. There’s a system for memorization that can be taught. Memorization makes playing the piano easier. It’s very encumbering to be watching the score. Sometimes it’s necessary, but when you have something memorized, it frees you to be expressive and just let the music come out of you naturally. What else is important? To learn more about memorization, click here!

Sight-reading

Reading music is essential because you can’t memorize everything. Plus, if you’re accompanying other musicians, you want to be able to see the score and their part. So you want to be able to read music to familiarize yourself with a wide array of music without necessarily committing it to memory. That’s another skill that can be developed. To learn more about sight-reading, click here!

Improvisation

Did you know that most styles of music are not dependent on reading every note in the score? Jazz, pop, rock, country, folk—you name it. Being able to improvise is so important. It’s also a great way to have fun with music. If you have a party and people want to sing some songs, being able to play by ear is great. Not to mention the fact that it can save your neck if you ever have a memory slip during a performance. You can get back on track if you can play a little bit by ear instead of starting over again. To learn more about improvisation, click here!

Scales and arpeggios

Learning all of your major and minor scales and arpeggios is one of the foundations of good technique on any instrument, and the piano is certainly no exception. It’s an essential toolbox of technique. The vast majority of Western music is built on scales and arpeggios. Having those literally at your fingertips is of tremendous value. Don’t be intimidated by it. You can just learn one a week, and it will take you about a year to learn all of them. There’s no hurry. If you haven’t done it yet, go for it! I’ve got a spreadsheet that you can check out that can keep track of all your scales and arpeggios. To learn more about scales and arpeggios, click here!

Octave technique

You hear people play rousing octaves, and you wonder, how is that done? Well, once again, a central technique of using the wrist. I have additional videos on that for you as well. And that brings us to the essential technique of the piano. To learn more about octave technique, click here!

Learn how to identify when to use the fingers, when to use the wrists, and when to use the arms.

They all come into play, but in different ways in different contexts of music. One of the most important things about learning technique on the piano is knowing which parts of the body to use. To learn more about finger techniques, click here! For more about the wrists, click here! For more about arms, click here!

Learn how to bring out different voices in your playing.

The piano is an instrument that can play many different parts at once. You, of course, have your left and right hands, but it’s much deeper than that. Sometimes, you have inner voices. You can even have different parts within one hand. Learning how to bring out different voices is such an essential technique. And once again, there are ways you can practice that. I have techniques for this. To learn more, click here!

Learn how to achieve a smooth melodic line.

Did you know that the piano is a percussion instrument? That’s right. When you play a note, the hammer is hitting the strings. You get a strong attack and rapid decay. So how do you get a smooth melodic line? Well, it’s the art of illusion. It’s a matter of using the weight of the arm to smoothly transfer the tone from note to note. The pedal can help with that as well. To learn more, click here!

Learn how to get a beautiful sound out of the piano.

Have you ever heard somebody play and everything just sounds harsh and ugly, and then somebody will play the exact same piano and everything sounds beautiful and warm? How is that possible? Singers have physiology that makes it so, and with other instruments, there’s such a connection with the throat, the breath, and the lips. But yes, on the piano, there are ways of achieving a beautiful sound. And there are ways you might get an ugly sound if you’re not careful. So this is a really important subject for you if you haven’t covered it before in your playing. You want to always get as gorgeous a sound as possible. To learn more, click here!

Interpretation

Interpretation is a wide open area. It’s very subjective, but it’s something important to understand and have a grasp of. You work so hard to learn a piece of music. How do you actually let it unfold? What do you have to say about it? Do you just play it the way your teacher told you to or the way you’ve heard it in a recording? Or do you have something unique you can say about the piece? How do you develop your own voice in music? That’s what interpretation is all about! It’s the reason we play—to express our love and our unique ideas about the music. The reason we work so hard is so we can bring our ideas into these pieces of music so others can enjoy our concepts of them. To learn more, click here!

Appreciate different period styles.

To understand interpretation and many other aspects of technique, you really have to have an appreciation for the different period styles of music, from the Baroque to the Classical, the Romantic, the Impressionist, and the 20th century. They’re all different styles, and there are styles within those styles. Not to mention, the piano evolved over time. So the period the music was written in wasn’t for the same instrument as earlier or later pianos. When you’re playing Baroque music, it might not have been written for the piano at all. It was more likely written for the harpsichord! So understanding the period styles and the instruments the music was written for is very important for being able to play appropriately on the piano. To learn more about the Baroque period, click here! For Classical, click here! For Romantic, click here! For Impressionism, click here!

Another important aspect of piano technique is ornamentation.

There’s all kinds of ornamentation, such as trills. Sometimes in early music, you’ll see different squiggly lines that are representative of things that you do to embellish the music. How to translate those symbols is one challenge, but the other is simply knowing how to execute them cleanly. And there again, there are different aspects of knowing how to measure your trills and things of that nature. For more about executing trills, click here! For more about ornamentation, click here!

Music theory

A solid foundation in music theory can really enhance all aspects of your playing. Certainly, if you’re reading music, it’s helpful to know what key you’re in and to have some grasp of the chord progressions and modulations. When you’re learning a piece of music, a foundation of music theory will help you understand where you are in the structure and the harmonies. It’s going to help you learn it, remember it, and play it. For more about music theory, click here!

Harmony

Harmony is kind of a subcategory of theory. Having an understanding of the keys you’re in and the relationship of tones is what harmony is all about. To learn more about harmony, click here!

Dictation

One way to develop harmony is through dictation. Jazz players do dictation all the time. If you play popular music, sometimes the sheet music can be very drab and not really grasp what the original performance was about. So you listen to it and kind of copy it by ear. You can even write it down. This is a tremendous way to develop your ear and an affinity for different styles of music. To learn more about dictation, click here!

Music history

Having a grasp of music history is so important. I mentioned the period styles, but it goes so much deeper. You want to understand the culture and customs of the time and how the music fit into society. Was it something for the elite or the music of the people? The history of the time can be enlightening and might shed some light as to how the music should be approached. Is it folk music? Is it music for the Royal Courts? Having an understanding of music history can give you a depth to your playing that is really important. To learn more about music history, click here!

Accompanying

I talked about reading and sight-reading being important, but accompanying is an art unto itself. You want to be able to play with other musicians. All too often, pianists play by themselves so much that they lack the camaraderie that you develop playing with other musicians. You learn so much by doing this. You develop a better sense of timing, balance, and nuance. There’s nothing greater than playing with other musicians and learning from them. When you play with great musicians, it rubs off on you. You might feel squeamish about playing with people who are better than you, but take the opportunity. It will be enriching for you. For more about accompanying, click here!

Maintain a repertoire.

How many pieces can you keep in your repertoire? What pieces should you learn next? What is a well-balanced repertoire on the piano? These are really important questions for developing your piano playing and your musicianship. You need appropriate challenges in your repertoire—something that’s not going to take you an inordinate amount of time or something that you’re never going to be able to play at a high level without a foundation of learning other pieces first. You need to know what pieces to play, what pieces to study, and how many pieces you can keep in your current repertoire. It’s not limitless. But you can drop pieces and restudy them. If you try to keep everything at your fingertips and in your head, you won’t have time to learn new music! So maintaining a repertoire is a delicate balance. To learn more about maintaining a repertoire, click here!

Performing

One of the important skill sets that has to be practiced is playing for people. Because if you play by yourself, it never really comes to fruition. The act of playing for people is where the music comes alive. When you’re playing by yourself, you know what you’re doing. When you’re playing for others, there’s a give-and-take. You’ll find that you will do things in your playing that you’ve never done before. Some of them may be unfortunate things, but you may find that, particularly if you have the wherewithal to play for people on a regular basis, it can become an inspiration for ideas because you get the feeling for what people are really paying attention to and the things that leave them flat. It’s just like a comedian working out material. They don’t really know what’s going to land and what’s going to fall flat until they do it in front of a crowd. The same is true with your piano playing. Playing for people is what it’s all about! You might think no one wants to hear you. That couldn’t be further from the truth! People will be impressed with your accomplishments. If they don’t play, everything will seem amazing to them. It’s all relative. There are different things that everybody can bring to the music. You don’t have to be the most virtuoso player in the world to be able to share emotions, feelings, and nuance about the music and taste that you have that’s unique to you. So play for people. People will enjoy it, and you will grow as a musician. To learn more about playing for people, click here!

Adjusting to different pianos and different rooms

When you play on different pianos, it feels completely different, and it can give you ideas about the piece you never had before. The rooms you play in also make a tremendous difference. Have you ever played in a room that’s completely acoustically dead, where there’s no reverberation at all? You end up working harder, and you may have to use the pedal more liberally in order to make up for the lack of acoustics in the room. You might go to a hall and try out the piano before a performance, and it sounds glorious in the beautiful echoey space. Then the audience comes in, and all those bodies with clothing absorb the sound, and it’s a completely different acoustic. So learning how to adjust instantly to a piano and to a room is an essential part of piano playing. And it’s enriching because you will learn more about the pieces you play, even if you’re not performing. Any time there’s a piano somewhere where you can play, play some of your pieces on it. I guarantee that you will learn something from the experience. To learn more about adjusting to different pianos and environments, click here!

I hope these are helpful for you!

But we have just scratched the surface! What about pedaling? Here is more on that subject for you:

HOW TO USE THE PEDAL ON THE PIANO – KEYBOARD KALEIDOSCOPE – ROBERT ESTRIN

And there is also independence of the hands at the piano:

HOW TO PLAY HANDS TOGETHER ON THE PIANO

These are just 20 tips and essential skills on the piano with two bonus tips! Any of you who can think of other skill sets that are important, leave them in the comments here at LivingPianos.com and on YouTube! Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com