All posts by Robert Estrin

Is Your Piano Fake? Fake Steinway Pianos

It’s a scary proposition to think that something you’ve spent thousands of dollars on could not be what it appears to be. Believe it or not, this actually happens in today’s piano market all the time and it’s something everyone should be aware of. Thankfully, figuring out if a piano is genuine is actually quite easy if you know what to look for.

Here in the local Los Angeles market there are a lot of auctions that contain pianos. I’ve heard from some people that there have been pianos there that have the Steinway name on them that aren’t actually Steinway pianos at all. Unsuspecting buyers might be bidding up a particular piano with no idea what they are actually getting. This is clearly a fraudulent practice preyed upon unsophisticated buyers.

Many times in auction houses you will not be allowed to fully inspect a piano; you will only be able to look at it from a distance. Luckily, even from a distance you can spot a few things that signal a genuine piano.

The easiest thing to replace on a piano is the decal on the fallboard. You can order pretty much any piano company decal imaginable online. This is done so that refinishers can order decals when they must remove the original. Just because it has a particular name on the fallboard doesn’t mean that it’s the actual brand of piano. You can put any piano decal on any piano if you want to.

Luckily, there is an incredibly easy way to tell if a piano is genuine. A piano will almost always have the name of the company cast into the plate of the piano. If it is a genuine Steinway, Mason & Hamlin, Baldwin, Yamaha, or other major company they will nearly always cast the name of the piano into the plate.

There are a few exceptions I’ve seen in some European pianos that have small plates screwed into the cast iron plate after it’s cast. Grotrian in particular had to remove their name from the plates of their pianos when they were successfully sued by Steinway. They had been Grotrian-Steinweg since the 19th century. But after losing to Steinway, they had to remove the “Steinweg” part of their name off all of their pianos in stock at the time.

There are many times you will see plastic name plates attached to a plate. These are typically stencil brand pianos. Stencil brands are pianos that are created by a different company (mostly in Asia) and bought by a retailer who then places a different name on the instrument. Most of the time, the original manufacturer will simply create a blank plate that the retailer can then add their specialized name to. These pianos are not fake; they are pianos that are manufactured and repurposed for another company.

The name in the plate is pretty much the only easily identifiable way to tell if a piano is genuine. Almost all the major high-end piano companies will cast the name directly into the plate – with a few exceptions.

If you have any more piano questions please contact me directly: Robert@LivingPianos.com

What is Solfeggio? Music Theory Lessons

Solfeggio, sometimes called sight-singing, is the ability to read and sing music at sight. This is an incredibly important skill for all musicians. So how do you develop these skills?

There are a couple of different systems and each one has different values. I’m going to explore these and you can decide what the best course of action is for you.

I grew up with a method called “movable do solfege”. You’ve probably heard it before: “Do Re Mi Fa So La Ti Do”. “Do” is the tonic, the first note of the major scale, and you simply progress up through the scale degrees. In movable do solfege, no matter what major key you are in, the tonic of that key is always do. For example, if you are in C major, C is “do”. This is important to remember because this is not the case when it comes to “fixed do” solfege.

In “fixed do” solfege C is always “do” (and “re” is d and so on). The notes never change syllables.

While these two methods are completely different, they are both important in their own ways.

The strength of “fixed do” comes from naming notes. No matter what iteration the note takes it will always correlate to the particular syllable in the “fixed do” system. C will always be “do”, D will always be “re” and so on. This can be incredibly useful – especially if you’re a conductor – because you will be able to determine the absolute pitch of each of the notes. Scores are transposed and there are different clefs so being able to determine the absolute pitch is a very powerful tool.

So why would you want to use movable do? Why should you constantly be changing the pitch of “do” and why would you want it in different places? The value is that you can hear music in the context of the key, so you can figure out the notes you are hearing. In other words, if you hear a pattern of notes (for example: do, mi, so ) you can determine that it’s a major triad chord; no matter what the key. This makes it possible to quantify the pitches relative to one another and determine these patterns of notes much easier. This can really help for people who don’t have perfect pitch – it’s a much easier way to know the notes you are hearing.

But what about the relative minor? There are actually two schools of thought for this. The way I was trained is that the key signature determines where “do” is, so the relative minor begins on “la”. This makes perfect sense and is still easy to grasp even if the piece switches between major and minor. This works out the same for all of the modes which share key signatures with major and minor scales but start on different scale degrees (like all the white keys from D-D would be a D dorian mode which shares the key signature of C major which has no sharps or flats).

The last thing we need to address is how to deal with accidentals (sharps, flats, and naturals). These are simply ignored in fixed do solfege but in movable do we add extra syllables to account for these accidentals.

An ascending chromatic scale would be:

Do-Di-Re-Ri-Mi-Fa-Fi-So-Si-La-Li-Ti-Do

Descending chromatic scale is:

Do-Ti-Te-La-Le-So-Se-Fa-Mi-Me-Re-Ra- Do

Movable do solfege is how I grew up with music and it’s how I hear music. I use it for every aspect of music, whether it’s reading music or even performing. All music is essentially playing by ear so even if you read it’s important to have a system in place that allows you to understand what you are hearing.

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

How to Read Ahead in Music

This question comes from another viewer who asks how to read ahead in music to improve their reading. So how do you achieve this and is it a good technique?

Well the truth is, reading ahead is actually not exactly how it works. Instead, it is a matter of looking at chunks of music instead of reading note by note much like reading text. When you first learn how to read a language, you must sound out each letter forming words. Eventually, you recognize words and even phrases. It is the same with reading music. You begin to recognize chords and progressions instead of just individual notes.

So instead of reading ahead in the music, it’s best to digest your music into chunks. If you break your music into these sections you will be able to absorb them much more easily and you will have an understanding of the structure of what you are playing helping the fluency of your reading.

You can even apply this same technique to sight reading. Instead of just reading all the notes and hoping for the best, the more you begin to break down your music into small chunks you will begin to recognize similar patterns. After a while this will become almost second nature and you will be able to read and digest all your music much more easily.

Thanks again for joining me and if you have any more questions please contact me directly: Robert@LivingPiano.com (949) 244-3729

What’s the Difference between Allegro and Moderato?

To put it in simple terms, in a musical context: Allegro means 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

How to Memorize a Piece of Music You Can Already Play

This might sound like a silly question but sometimes you have a piece you can play with the music in front of you but you haven’t memorized it yet. You might be able to play the whole piece by barely glancing at the music but you still need it in parts. This can be cumbersome and is something you want to avoid. So how do you fix this?

I have produced a video in the past on How to Memorize Music. If you haven’t watched it yet I highly recommend it as a companion piece to this article. My very first lesson as a child when I studied with my father Morton Estrin was how to memorize music. It’s a crucial skill that every musician should learn.

Taking small sections of music and memorizing each hand separately, then putting them together helps you memorize even the most difficult passages of music. This is a great system to use but how do you account for a piece you almost have memorized? How can you push yourself over the edge and get the whole piece down?

I actually have two methods for you. The first is the band-aid approach to practicing music. This technique is simple but very effective. Play through the piece as far as you can from memory. When you encounter a spot that you can’t go past without looking at the music, you stop. Then take this small section and study it intensely. Use the method I detailed above and learn each hand separately first to get the section memorized securely.

If the band-aid approach doesn’t work for you don’t worry; you have other options. Rather than starting all over again and learning small chunks at a time, expand the amount of music you learn for each section. So where you might have been memorizing 3-4 measures at a time, try and work with 8-10 measures at a time. Make sure you learn the hands separately and then combine them together.

I highly recommend that in the future you start by memorizing your piece as the first step and not the last step. Start by progressing through your music in small chunks and learn each hand separately; then combine them when you’re ready. Ultimately this is a much more efficient way to learn your music.

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

What is a Plagal Cadence? Music Theory Lessons

This is a term you may or may not be familiar with. The plagal cadence is a IV chord resolving to a I chord at the end of a piece. Why is this significant? Typically the end of a piece has a V – I or V7 – I cadence.

So why is the plagal cadence important and how can you use it in your music? It is a certain tool you can use to add a fresh color to the end of a piece. I highly recommend you listen to the accompanying video to this article to understand the function of a plagal cadence. Ultimately, the sound is what sets it apart.

A classic example of a plagal cadence is the “Amen” in a church service. Once you hear it, you will always remember it!

I hope this is helpful and if you have any questions about this topic or any other, please email me Robert@LivingPianos.com for more information.