Welcome to my ongoing series of lessons for specific repertoire. I have much more advanced lessons on piano pieces on the way. If you would like to be notified when these become available, please email me: Robert@Livingpianos.com.

This is an iconic piece by Bach and it has a very interesting history behind it. While it’s called the Italian Concerto, Bach never visited Italy! In fact, Bach was German and traveled very little in his life. A concerto is a piece of music with a group of instruments or a solo instrument with an accompanying orchestra. This piece is purely a solo work – there is no orchestra or even other instruments involved. So how can this be a concerto?

There is no doubt that Bach was a musical genius. He spent his life in Germany but would encounter many visiting musicians from other countries. He would make a point of listening to the music and the styles of different countries and cultures and he would then emulate that in some of his own works. He wrote French Suites, English Suites, and the Italian Concerto just by listening to visiting artists.

Bach was an incredibly busy man. He had over twenty children and at one time composed complete masses every week for not one, but two churches! Even though he left an incredible body of work, most of his music was all but forgotten after his death.

The great composer Felix Mendelssohn worked at the same church as Bach had a century earlier and uncovered many of Bach’s manuscripts. He is credited with bringing the music of Bach to the masses. Even though Bach’s existing work is immense and diverse, it actually represents a very small fraction of his actual output – most of which was lost forever. There are even urban legends of people wrapping fish in Bach manuscripts.

If you’ve ever seen Bach’s original compositions you would notice that there are almost no dynamics written in the scores. If you see anything written in it’s most likely an editorial suggestion. Bach probably did not write them. A huge exception to this, however, is the Italian Concerto; every single section has dynamics. Not only does the piece have dynamics throughout, they are actually written specifically for each hand.

Throughout the composition, each hand will either be playing forte or piano. Sometimes both hands will be forte or piano and on other occasions, one hand will play one dynamic while the other hand is the opposite. This is the way Bach achieved the quality and sound of a concerto with only a solo instrument – he created the effect of large and small groups in a solo keyboard work with different hands emulating solo and ensemble playing.

So what’s the best way to approach this work? Being a Baroque piece, you will not want to take many liberties with the tempo; practicing with a metronome is advised. You should be able to maintain a steady beat while playing this piece.

You should also pay very close attention to the dynamics. In fact, this is the first piece I ever learned to play on the harpsichord because it was easy to delineate which keyboard to play on a two-manual harpsichord. I set one of the keyboard registrations to be loud and the other to be soft, allowing a very easy flow from one keyboard to the other by following the dynamics written in the score.

The other aspect of this piece to pay very close attention to is the phrasing. In my previous lesson for Bach’s Minuet in G, I mention a technique for using the wrist with the staccato sections and being able to link the notes almost seamlessly in the legato sections. The same basic principle applies to this piece as well.

These are some general tips and next time I will be covering other movements of the piece. Thanks again for joining me Robert Estrin: Robert@LivingPianos.com

How to Play the Bach Italian Concerto on Piano – Part 1

Welcome to my ongoing series of lessons for specific repertoire. I have much more advanced lessons on piano pieces on the way. If you would like to be notified when these become available, please email me: Robert@Livingpianos.com. This is an iconic p

When I first received this question from a viewer I thought immediately how the pedals can add color to your music. Then I began to think about the subject and realized that there are other ways to add color to your music beyond simply relying on the pedals. Certainly the impressionist music of Debussy and Ravel make creative use of pedals to color the music, but what is possible with the hands alone?

This article and accompanying video demonstrates how to add color to your music without using the pedals at all. A second video to follow will cover how to color your music with the pedals. In the video attached to this article, I demonstrate some techniques using Mozart’s C major K545 Sonata. It’s a great piece to use since the piano of Mozart’s time had no pedals!

One technique is how you balance the hands. Playing the melody stronger than the accompaniment immediately adds more flavor and color to the music. An easy way to achieve this is to simply apply more arm weight to the right hand while playing.

All instruments essentially imitate the human voice. However, with the piano, every time you play a note, it immediately begins to fade out. One thing I’ve noticed from listening to my wife Florence play the flute is that she will play higher notes with more breath and volume than lower notes. This is totally natural when singing or playing a wind instrument. One thing I learned from one of my great piano teachers, Ruth Slenczynska is that you can mimic this effect on the piano. Playing higher notes louder and lower notes softer will add a lot of color and expression to your music. You can also take a bit more time when you reach the higher notes to add a greater effect. You will create the sense of a singing line on the piano!

But let’s not forget about the left hand in all this. If you were using the pedal you could meld the notes to create a nicer sound. Yet without the pedal you can achieve this by holding selected notes with your fingers! Try holding the bottom note holding the first note in each group so it overlaps the following sixteenth notes. You will be rewarded with a rich sound!

Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729. And be sure to look for part 2, which will cover techniques using the pedal.

How to Add Color to Your Piano Music – Part 1

When I first received this question from a viewer I thought immediately how the pedals can add color to your music. Then I began to think about the subject and realized that there are other ways to add color to your music beyond simply relying on the

When it comes to Hymns there is a general rule of thumb: once you can one you can pretty much play any of them! However, before you reading level has progressed it could be difficult to play any of them. The key to playing hymns is understanding the structure.

The first thing you must do is figure out what key you are in. Make sure you take note of the key signature and figure out what the tonalities are. It’s a lot like detective work trying to figure out the correct chords – and don’t worry, I will provide some helpful tips to allow you to avoid the music theory part of this.

Generally, these pieces are choral writing – soprano, alto, tenor, and bass. Typically with your hands, you will play two voices with the left hand and two voices with the right hand. One secret is that it will be easier to play three voices with the right hand and just the bass with the left hand. This can be a little tricky because with choral writing the soprano and alto parts are always in the treble clef and the tenor and bass are always in the bass clef. However, choral writing always has a bigger distance between the bass and the tenor – from the bottom note to the other three notes than any other voices; it is often times more than an octave. Redistributing the hands is one way to make hymns a little easier.

Another valuable tip for approaching music above your reading level is to simplify the music. If you just want to get through something or gain some benefit from music above your reading or skill level this can be a helpful tool. You must remember that the melody and bass are fundamental – the bass is the structure and the melody is the song. To simplify the music, simply play only the top and bottom lines. In the video embedded above I provide an example of this. Say you are in a church setting and someone hands you some music, you won’t have time to learn it. However, if you just play the top and bottom lines and have a choir singing along with you, it will sound fine.

The good news is that by simplifying the music you will start to gain a better understanding of how the music is structured. This enables you to flesh out the inner voices much easier than you think. Maybe just add the alto voice eventually and leave out the tenor line. Experiment and see what works for you; expand and embellish your playing at a comfortable level.

Just remember that the most important thing is to get the melody and bass. If you can play those you will be in good shape. Once you feel a bit more comfortable start adding the other parts in gradually.

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

How to Play Hymns on the Piano

When it comes to Hymns there is a general rule of thumb: once you can one you can pretty much play any of them! However, before you reading level has progressed it could be difficult to play any of them. The key to playing hymns is understanding the

This past weekend I had the honor of teaching and performing for a group of talented young piano students in Escondido California on behalf of the MTAC (Music Teachers Association of California). This opportunity has given me time to reflect upon the importance of music education and I have some thoughts I would like to share with you.

I am lucky to have grown up in a musical household. My father Morton Estrin (www.mortonestrin.com) had an illustrious career as a concert pianist with dozens of recordings and hundreds of performances. He’s also a phenomenal teacher who’s had many successful students go on to professional careers in music. My mother was a music teacher in public schools – my sister is an accomplished pianist and successful teacher in Cleveland, and my wife is a concert flutist. My daughter and son are also musicians and pretty much everyone in my extended family is connected to the music world in one way or another. Needless to say, music is an incredibly important part of my life.

Unfortunately, music is commonly overlooked when it comes to public education. It seems like anytime there is a cutback in education funding, music is always one of the first things on the chopping block. It’s a shame there is a lack of music education available to young students – especially since studies have shown that learning a musical instrument actually helps with the development of the brain. There are so many benefits to music education and performance – from mental development to confidence building, to teamwork – there are countless ways that music education helps children and adults.

But beyond any of the benefits listed above, music is something that can bring joy to your life and the lives of those around you. Music is an art form and as such it’s a great way to express feelings and emotions and illicit reactions from those who hear it. Its unique expression enhances life.

Not everyone is going to be a professional musician, but that’s not the issue. With knowledge comes understanding; being able to appreciate the musical language and having an education about it only amplifies its effect on people. I’m sure those who have studied music for any length of time in their lives will tend to agree.

While music might be something that’s considered superfluous when it comes to budget cutting, it’s not something we should just disregard. It has many benefits beyond just learning to play an instrument. Please share any comments you have about this subject, it’s a very passionate one for me and I’m sure many others of you out there.

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

The Importance of Music Education

This past weekend I had the honor of teaching and performing for a group of talented young piano students in Escondido California on behalf of the MTAC (Music Teachers Association of California). This opportunity has given me time to reflect upon the

This really is a great topic to cover and there is a ton of information for you. There are two distinctly different types of repeated notes: slow repeated notes and fast repeated notes. I’m going to cover both of these techniques for you.

Let’s start with fast repeated notes. The easiest way to handle a fast note played over and over again would be to use two hands. However, for most music, this is not going to be an option. Most of the time you will have to learn how to handle fast repeated notes with one hand, and the only way to achieve this is by changing fingers. You MUST change fingers in order to play the notes fast enough.

The most important thing is finding a fingering that works for you. Typically, 3-2-1 is a very good fingering for playing fast repeated notes. In the video above I demonstrate this on one of Scarlatti’s sonatas. I provide some additional instructions specifically on how to approach this; if you have time to watch, you may appreciate this.

Another thing to keep in mind when approaching fast repeated notes is that upright pianos will not be able to handle it. Not all grand or baby grand pianos can even handle the high level of repetition needed and the piano will need to be regulated well in order to play fast repeated notes.

So how is it done? It is absolutely essential to keep your fingers right over the keys. There isn’t time to make any extra motion, so keep your fingers hovering very close to the keys. Also, keep your hand relatively stable, curve your fingers (keep them rounded) and try to hit the middle of the key. It’s best to practice slowly, with a metronome, and work your way up to speed slowly.

For tips on how to play repeated notes both fast and slow, please check out this additional video:

https://www.youtube.com/watch?v=iukNLMumXV8

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

Repeated Notes Technique for Piano

This really is a great topic to cover and there is a ton of information for you. There are two distinctly different types of repeated notes: slow repeated notes and fast repeated notes. I’m going to cover both of these techniques for you. Let’s s

How to Approach Debussy’s Clair De Lune on The Piano

This is a gem of a piece that many students choose to learn. If you have the opportunity to view the attached video, there are many insights and tips that you may find helpful. The biggest problem I see students encounter when it comes to this piece

You can really understand different facets of ensemble playing by watching the accompanying video.

Playing piano with other musicians can sometimes be a challenge. There is plenty of music written for multiple instruments and the piano is an extremely popular accompanying instrument. There are a couple of challenges that every pianist will face when playing with other musicians: playing at the right level and playing with synchronization. I’m going to cover these topics in this article for you.

The first thing I want to address is cueing. You might hear some musicians perform a countdown and while this works in some musical styles, it is not standard in classical fare. You’ve probably seen a conductor move his or her arms cueing a large orchestra and everyone comes in precisely together! How is this possible? The motion he/she performs is precise – the upstroke will indicate the speed and the downstroke will let you know when to start. If the conductor raises his hands quickly it will indicate a faster tempo. My wife Florence Estrin provides an excellent example of how cueing works in the above video.

The secret to giving a correct cue is to count in your head. You must know the speed you’re going to play before your first note and you must share this visually with your fellow musicians.

There are a number of things you must do when playing piano with other musicians to ensure that everything sounds cohesive. One of the biggest challenges is not playing too loud, particularly with softer instruments like flute or viola. For example, in the video above I play a forte selection with Florence on the flute. If I were to play a true forte as I would as a soloist, I would overwhelm the sound of the flute. A great way to approach this is with an accented approach – have a bigger sound on the first notes and letting the flute line sing out above as the notes sustain.

On the other side, I’ve seen a lot of pianist play too timidly with other instruments – like a true accompanist instead of a collaborator. After all, if the music is written for two instruments they will both be intended to share the spotlight. You must learn to play with them, not against them. You will make the sounds fit with each other and practice together until it sounds like you are truly performing as one.

Another thing to be aware of is timing. Many times people will instinctively follow the soloist and they will find themselves getting lost. You must anticipate the timing of the soloist and play with them, not follow them or you will fall behind.

Hopefully, this provides some useful information for you. When you watch the video you will see examples of cueing as well as balancing with a soloist.

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

How to Accompany Other Musicians on the Piano

You can really understand different facets of ensemble playing by watching the accompanying video. Playing piano with other musicians can sometimes be a challenge. There is plenty of music written for multiple instruments and the piano is an extremel

You might not have heard of the band-aid approach to practicing music and that’s OK. It is an effective practice technique I came up with years ago and continue utilizing. It increases effectiveness to practicing and I share it with all my students.

When it comes to practicing, I strive for efficiency. I want to get as much done as I possibly can within the time I have. I wish I could practice all day long but my schedule rarely permits it – instead I have to find times to practice and make sure that I get as much benefit from it as I can in the time that I have.

There are many practice techniques available and there are dozens of problems musicians face in their playing and development. This technique is really designed to help you zero in on a specific problem you are having. As a musician, you will encounter specific problems in some areas of your music. This is where you will want to focus most of your energy.

So how do you use this technique? Start with a piece of music and play it through until you have a problem. Let’s say you missed a note. Now instead of starting from the begging of the piece and playing it over again, jump to right where the problem is. Keep working on your trouble section until you iron out the correction. Play it many times over and over again until you can play it effortlessly. Then go a measure or two before your trouble phrase and play it from there many times until it comes together nicely. Then, play the entire section or piece again. Basically, you are putting a bandage on the problem area and making sure it sticks!

I have found this technique incredibly helpful over the years. Please try it out and let me know if it works for you. Thanks again for joining me, Robert Estrin Robert@LivingPianos.com (949) 244-3729

The Band-Aid Approach to Practicing Music

You might not have heard of the band-aid approach to practicing music and that’s OK. It is an effective practice technique I came up with years ago and continue utilizing. It increases effectiveness to practicing and I share it with all my students

Thirds on the piano can be very difficult. We only have five fingers on each hand so negotiating thirds can be a real challenge. As with other aspects of piano technique, fingering is critical. Here are some related resources for you:
How to Practice Scales & Arpeggios and Brilliant Piano Fingering Technique.

In this article and video, you will find some tips on how to approach thirds and some routines to add to your practice. Of course, thirds can be practiced endlessly. It’s said that Josef Lhévinne practiced the Double Thirds Etude by Chopin for ten years before performing it! His historic recording of the piece is a testament to this fact.

https://www.youtube.com/watch?v=0XCj-j7TBTY

In the following tips, I utilize a D Major Scale played in thirds.

A great way to practice thirds (this example refers to the right hand) is to play the top notes legato and the bottom staccato; doing this will help to clarify the melody notes. You can make it a bit simpler for yourself by trying to play the top notes and leaving out the bottom notes. You can also try playing every other note on the bottom and then go through and play the notes you left out the first time.

All of these simple techniques will help you develop the muscle memory and strength to play thirds with precision. Try practicing with a metronome to keep consistency and remember that fingering is critical in playing thirds. Check out the videos links above for more fingering techniques.

Thanks again for joining me and keep those questions coming: Robert Estrin Robert@LivingPianos.com (949) 244-3729

How to Approach Thirds on The Piano

Thirds on the piano can be very difficult. We only have five fingers on each hand so negotiating thirds can be a real challenge. As with other aspects of piano technique, fingering is critical. Here are some related resources for you: How to Practice