Beethoven’s Moonlight Sonata, Opus 27 no 2, is one of the most famous piano pieces of all time. While many people are intimately familiar with the first movement, which is slow and contemplative, the three movements as a set offer a wide range of expression, creating a true musical journey!
This performance was done at Treelawn Music Hall in the Waterloo Arts District in Cleveland, just up the street from Living Pianos showrooms. It was performed on a rebuilt 1951 Steinway model D 9-foot concert grand, which was acquired from Living Pianos and has been featured in concerts by world-class jazz artists such as Fred Hersch and Bill Charlap.
Welcome to LivingPianos.com—I’m Robert Estrin. Have you ever wondered why certain intervals in music are called “perfect”? What makes them perfect, and why do they hold such a special place in music theory? The answers lie in the unique characteristics of perfect intervals and how they relate to other types of intervals. Let’s break it down in a simple and digestable way.
Two Categories of Intervals
First, it’s important to understand that there are two main categories of intervals in music: perfect intervals and major intervals. While there are more types of intervals, these two categories help you understand the foundation of music theory. Perfect intervals include the prime (unison), fourth, fifth, and octave. Major intervals include the second, third, sixth, and seventh.
What Makes Intervals “Perfect”?
The term “perfect” in perfect intervals comes from their unique ability to maintain their quality even when inverted. For example, the prime (also known as a unison) occurs when two notes are the same, like two middle Cs. It doesn’t matter if one of them is altered slightly with an accidental (a sharp or flat), the relationship between the two notes is still a prime.
Perfect intervals—prime, fourth, fifth, and octave—have a special property: when inverted, they remain perfect. For example, if you take a fifth and invert it, you get a fourth, and it’s still perfect. This is a fundamental difference between perfect intervals and other intervals, which I’ll explain shortly.
Major Intervals and Their Inversion
Now, let’s move on to major intervals. When you take a major third (for example, from C to E in C major) and invert it, you end up with a minor sixth (from E to C in this case). This is a crucial point: major intervals become minor when inverted, and vice versa.
What makes a major interval distinct is that it’s built on the notes of a major scale. So, in the C major scale, the second, third, sixth, and seventh notes of the scale are are all major intervals.
Inversion and the Change in Interval Quality
Inversion plays a big role in how intervals are perceived. As I mentioned earlier, when you invert a major interval, it turns into a minor interval. But what happens when you invert other types of intervals?
Augmented intervals (which are made by enlaring a perfect or major interval by a half step) become diminished intervals when inverted. Diminished intervals (which are made by decreasing a perfect or minor interval by a half step) become augmented intervals when inverted.
It’s this inversion rule that sets the behavior of intervals apart and gives us a structured way to think about intervals in music.
Why Does This Matter?
Understanding these interval relationships can truly open up a deeper understanding of music. When you start to grasp how intervals change through inversion and how perfect intervals maintain their quality, it brings a sense of clarity and even enlightenment to your music.
A Quick Recap
Perfect intervals (prime, fourth, fifth, octave) remain perfect when inverted. Major intervals (second, third, sixth, seventh) become minor when inverted. Augmented intervals become diminished when inverted and vice versa.
It’s a lot to take in at first, but when you explore these concepts yourself, you’ll start to see how they impact the way music is structured.
Welcome to LivingPianos.com—I’m Robert Estrin. If you’re like most pianists, you’re always looking for ways to improve your practice time. The truth is, you can save a lot of time by practicing smarter, not harder. And while this may sound simple, the approach is incredibly effective and can make a huge difference in how quickly you progress on the piano.
Maximize the Effectiveness of Your Practice Time
As a teacher, one of the main goals of my method is to help students maximize the effectiveness of the time they spend at the piano. In fact, it’s something I’ve spent my entire career perfecting. Even for professional musicians and touring artists, finding time to practice can be challenging, but with the right approach, you can make the most of the time you do have.
The secret to saving time in your practice sessions is to avoid learning anything wrong. This sounds simple, but it’s often overlooked. Let me explain.
When you sit down to learn a new piece, the typical approach is to read through it, maybe many times, to familiarize yourself with the notes. But what often happens is that you miss certain things, and then you start trying to correct those mistakes as you go. This is time-consuming, and it often leads to frustration.
The Checklist Approach
Instead of jumping straight into playing the piece, think of it like a pilot preparing for takeoff. Before a flight, pilots go through a checklist to ensure everything is in order—even if the plane has already been inspected. Why? Because the stakes are high. In the same way, your practice time is precious, and if you’re not practicing efficiently, you’re wasting valuable time.
To avoid learning anything incorrectly, start by breaking the piece down systematically after reading it through no more than two or three times, the first day only!
Break It Down: Start Small<\b>
After reading through the piece a couple of times, focus on a small phrase—just a measure or two. It’s crucial to start small, as this allows you to master each aspect of the music before moving on. This is where you can apply the checklist approach to practicing.
1. Study the Notes
Before playing, make sure you know every single note. Understand the key signature, the time signature, and the layout of the music. This is your foundation.
2. Focus on Rhythm
Don’t start playing just yet. Next, count out the rhythm or tap it out. This is essential for internalizing the timing before you actually start playing.
3. Work on Fingering
Next, look over the fingering carefully without playing the music. Finger it out in your lap, analyzing your hand movements.
4. Study the Phrasing
Then, take a close look at the phrasing, slurs, accents, and any other articulation markings in the score. These details are crucial for bringing the music to life, so don’t skip them.
5. Pay Attention to Expression
Finally, consider the dynamics and expression. You might be tempted to add dynamics later, but here’s the issue: you’re always playing with some level of dynamics, even if you’re unaware of it. If you don’t address the dynamics from the beginning, you risk developing bad habits that are very hard to undo.
Avoiding the Trap of Unlearning
It’s incredibly difficult to correct mistakes once you’ve gotten used to playing something incorrectly. Over time, your fingers get accustomed to the wrong movements, and your ears get used to hearing things a certain way, and it gets burned into your memory. Undoing this is not only challenging but also time-consuming.
By practicing the right way from the start, you’ll never face the excruciating task of unlearning bad habits.
Practice Hands Separately
Once you’ve worked through all the details for the right hand, do the same for the left hand. Take it step by step, focusing on notes, rhythm, fingering, phrasing, and expression. This will help you build solid foundations for both hands individually.
Once both hands are completely polished, you can begin putting them together—very slowly at first, checking your work as you go. Don’t rush this process; the goal is to ensure each hand is easy and comfortable before combining them.
The Reward: Faster Learning
You might think that this approach will take forever to learn a piece, but the opposite is true. By breaking everything down and avoiding mistakes from the start, you save significant time in the long run. You won’t have to go back and unlearn things, which takes far more effort. Additionally, by practicing with full awareness and attention to detail, you’ll understand the music on a deeper level, making it easier to connect phrases and build fluency.
Putting It to the Test
By following this method, you’ll be able to make the most of every practice session and truly maximize the time you spend at the piano. It’s all about being thorough, starting small, and building up each element of the music and connecting phrases as you learn them. The more intentional you are in your practice, the faster you’ll progress and the less time you’ll waste. If you’ve never tried this method before, I encourage you to experiment with a new piece of music. Choose a piece that’s slightly easier than you think you need, just to try out this approach. I’m confident you’ll see results. Let me know in the comments how it works for you!
Welcome to LivingPianos.com—I’m Robert Estrin. If you’ve ever heard a Neapolitan sixth chord and thought, “Wow, that sounds unique and interesting!”—you’re not alone. This particular chord has a rich, striking sound that adds a beautiful touch to many pieces of music. Let’s break down what a Neapolitan sixth chord is, and how it’s used in different musical contexts.
What is the Neapolitan Sixth?
The Neapolitan sixth chord is a major triad built on the flattened second degree of a scale, in its first inversion. To explain it more clearly, let’s break it down:
Start with a major scale—let’s use C major for simplicity.
The second note of the C major scale is D. If we flatten this note, it becomes D-flat.
Build a major triad using the D-flat as the root. The notes of the triad would be D-flat, F, and A-flat.
Now, place the third of this triad (F) in the bass, which puts the chord in its first inversion.
And there you have it: the Neapolitan sixth chord. It’s a major chord built on the flatted second degree of the scale, with the third of the chord in the bass.
How Does the Neapolitan Sixth Work in C Major?
You might be wondering, “Why is this D-flat major chord showing up in the key of C major?” It may seem out of place at first, but that’s the beauty of the Neapolitan sixth—it adds an unexpected color to the harmony. In classical music, the Neapolitan sixth is often used to create tension before resolving to more familiar chords like the dominant or tonic.
Using the Neapolitan Sixth in a Chord Progression
Let’s take a classic chord progression in C major to demonstrate how the Neapolitan sixth works in context. Consider the following:
I chord (C major) IV chord (F major) I6/4 chord (C major in second inversion with G on the bottom) V7 chord (G7) I chord (C major)
In many cases, you can substitute the IV chord with the Neapolitan sixth. This adds an extra layer of richness to the progression, as the Neapolitan sixth brings in an unexpected harmonic twist. Here’s how it works:
Start with the C major chord.
Next, instead of going to the F major (IV chord), move to the Neapolitan sixth.
Move to the V7 chord (G7)
Finally, resolve to I, the C major chord
A Different Sound from the Typical Progression
Take a moment to compare how the Neapolitan sixth sounds next to the more common IV chord or even the ii6 chord (the second inversion of the ii chord). You’ll notice the Neapolitan sixth adds a unique flavor, a richer and more dramatic shift in color. It’s like a special spice in your musical stew, enhancing the harmonic complexity.
Finding the Neapolitan Sixth in Your Music
If you come across a chord that sounds unusual or unexpected, it could very well be a Neapolitan sixth. Here’s how to identify it:
Find the key of the piece you’re playing.
Identify the second note of the scale.
Flatten that second note (go a half-step down).
Build a major triad on the flattened note.
Put the third of the triad in the bass, which will put the chord in first inversion.
You can do this in any key! If you’re in E major, for instance, the Neapolitan sixth would be built on F (the flatted second note), and would contain the notes F, A, and C. Put the A on the bottom (1st inversion), and you have the Neapolitan sixth chord in E major.
A Powerful Tool
The Neapolitan sixth is a powerful tool in music that you’ll encounter more often than you might realize once you start listening for it. It’s a chord that brings richness and unexpected beauty to music. Try it out in your own playing and see how it transforms the color of your music.
Have you ever used the Neapolitan sixth in your own work? Let me know in the comments! If you want to take your piano playing to the next level, check out the Living Piano Mastermind Club. Thanks for joining me!
Welcome to LivingPianos.com—I’m Robert Estrin. If you’re ready to master broken octaves and play them effortlessly, you’re in the right place! By the end of this article, you’ll be able to play broken octaves all day long without getting tired—yes, it’s absolutely possible. Let’s dive into the secret of making this happen.
The Challenge of Broken Octaves
Let’s start with an example. A great piece to highlight broken octaves is the third movement of Beethoven’s Moonlight Sonata. There’s a long section in the third movement filled with broken octaves that can seem like a daunting task. The question is, how do you play these over and over without tiring out your hands and fingers?
You might think the answer lies in using your fingers more, but that would be a mistake. If you try to play it with just your fingers, you’re bound to tire out quickly. So, what’s the secret?
The Secret to Playing Broken Octaves
The technique involves positioning the hand in an arch. The strength of the arch helps distribute the force between the thumb and pinky, which are vastly different in strength. This natural positioning balances the two fingers, making it easier to play the octaves without straining.
The thumb is by far your strongest finger, while the pinky is one of the weakest. The arch helps balance this difference. But there’s more to it than just the arch. The real magic comes from rotating your wrist, not from moving your fingers. This wrist rotation allows you to play the broken octaves smoothly and evenly with minimal effort.
Why This Technique Works
By rotating your wrist instead of relying on finger movement, you eliminate the strain that comes from using your fingers to control each note. It becomes a fluid motion, and with practice, you’ll be able to play broken octaves for much longer without feeling tired. This wrist rotation is the secret I’m sharing with you today. When you use this method, you’ll find that playing broken octaves becomes effortless.
Try It for Yourself
Give it a try at the piano. And watch the accompanying video so you can see it in action. Don’t use your fingers—just rely on the natural movement of your wrist and hand. It may feel different at first, but once you get the hang of it, you’ll notice how much easier it is to play broken octaves with this technique.
I hope you enjoyed this tip. I love bringing you new ideas to help elevate your piano playing. I’ve been making videos for a long time—ever since the early days of interactive music in the beginning of the 21st century—and I’m excited to continue sharing piano wisdom with you. If you’d like more tips like this, be sure to check out the Living Pianos Mastermind Club!
Welcome to LivingPianos.com—I’m Robert Estrin. Let’s face it: playing the piano is hard. It takes years of practice and dedication to build the kind of security that makes the instrument feel like an extension of yourself. Over time, you develop a deeper connection with the keys, but getting to that point takes effort and perseverance. So, what exactly makes the piano so difficult?
1. The Complexity of Piano Music
The first thing that comes to mind when we think about why piano playing is tough is the sheer complexity of the music. Unlike other instruments, the piano requires you to use both hands independently, often playing completely different parts. The hands cross over each other, switch roles, and even pass parts back and forth between them.
While other instruments, like the clarinet or trumpet, present their own challenges—like tone production, breath control, and finger placement—the piano is unique in that every piece you play requires new hand positions, finger patterns, and movements. You’re constantly adapting to new challenges, even if you’ve been playing for years.
2. Reading Music vs. Watching Your Hands
Another big challenge pianists face is the struggle between reading the music and watching your hands. You want to be able to read the sheet music while also being aware of what’s happening on the keyboard, but how can you look in two places at once? Sure, you can memorize the music, but memorization takes time, and it’s not always an option, especially when playing chamber music or accompanying others.
The key is to develop familiarity with the keyboard through your ear and feel. Over time, your connection with the instrument will allow you to find your way without needing to constantly look at your hands. The more you practice, the more your reading skills will improve and help you play with ease.
3. The Anatomical Challenge of Playing the Piano
The way your hands are built is actually a bit backwards for piano playing. Ideally, you want your stronger fingers to handle the melody and bass, the notes that need to stand out. But instead, your powerful thumbs are in the middle, which isn’t really what you need. Most of the time, you want the melody in the higher notes and the bass in the lower notes to come through clearly. Think about it: it’s the top and bottom notes that need to be heard most, and your weak 4th and 5th fingers are called upon for this purpose. So, the challenge is overcoming the natural way your hands are built and focusing on bringing out the melody and bass, where you really want the emphasis.
4. The Difficulty of Sustaining High Notes
Another inherent challenge on the piano is the difference in the way high and low notes decay. The lower notes tend to resonate and last longer, while high notes fade almost immediately. This can be frustrating, especially when you’re trying to bring out the melody, which is often in the higher range of the piano.
You need to exaggerate the weight and arm support in those higher notes to make them sustain long enough to be heard above the accompaniment. This is crucial when playing pieces with a delicate melody, like Chopin’s Nocturnes, where the melody is often slower and needs to be clearly heard over a faster-moving accompaniment. Without adjusting your touch, the melody will quickly disappear under the more persistent bass notes.
5. Adapting to Different Pianos
Finally, one of the most unique challenges of playing the piano is that, unlike portable instruments like the guitar or flute, you can’t simply pick up your piano and take it with you. Whether you’re performing a concert or just playing at a friend’s house, every piano you sit down at will be different. The touch, the sound, the pedals—they all vary from instrument to instrument, and you must adjust to each one on the spot.
This is a problem unique to pianists. Other musicians can bring their instruments wherever they go and know exactly what to expect. But pianists? They may find themselves playing on an unfamiliar instrument just moments before they perform, needing to quickly adapt to its nuances.
If you’re working through these challenges, know you’re not alone!
Every pianist has been there. Keep practicing, and you’ll continue to build that connection with the piano, one note at a time.
If you find these insights helpful and want to take your playing to the next level, be sure to check out the Living Piano Mastermind Club. It’s packed with resources to help you further develop your musical skills!
