Piano Lessons- Music Theory Lessons

The Sonata is one of the most enduring musical forms of all time. I am not talking about the single movement Baroque sonatas of a composer like Scarlatti, but the Classical era form of Mozart, Haydn and later with Beethoven and still later the great Romantic composers like Schumann, Brahms and beyond. So what is so special about this form?

First, the sonata is a multi-movement work. I am discussing the form commonly referred to as Sonata-Allegro form which is usually the first movement of a sonata which is generally fast (Allegro). This form is not only pervasive in sonatas, but in symphonies, concertos, string quartets, piano trios, and many other musical compositions. So, what is it?

In its simplest description, it is kind of an A – B – A form, in which music is presented, new material is offered, and the original music returns. But that isn’t quite accurate. It’s more of an A – B – C form with some added structure. Here is, in a nutshell, the Sonata form:

A. Exposition

– Theme 1. in the tonic key (the key of the piece)

– Theme 2. in the dominant key (the key starting on the 5th note of the key of the piece).

– The Exposition Repeats-

B. Development: This is a free development of both themes

C. Recapitulation

– Theme 1. in the tonic key (the key of the piece)

– Theme 2. in the tonic key (so the movement ends in the key it started in!)

It is remarkable how many pieces of music adhere to this form to one extent or another. It’s not as if there was some book, “How to Write a Sonata” that everyone read! It’s just that this structure is incredibly enduring for musical exploration. It is actually the exceptions to these rules that make pieces stand out! In fact the example of the famous C major Sonata of Mozart K.545 that I utilize doesn’t follow the rules quite right. It doesn’t have the first theme in the recapitulation! It does have a statement of the first theme in the sub-dominant (the 4th note of the major key) at the end of the development and the recapitulation starts right in with the 2nd subject (second theme).

There are so many great compositions that are structured this way that you will be astounded once you start analyzing pieces you know.

People often ask me what the difference is between New York and Hamburg made Steinway pianos. Researching this online may offer some perspective but really the choice between the two may be more a matter of personal preference than anything else. That being said, there are some key differences between the two manufacturers of Steinway pianos that may interest you.

The history of the Steinway family is pretty fascinating and for a detailed description, I would suggest viewing their official story on their website. The family was actually a group of German immigrants who came to New York. They began piano manufacturing in New York and later opened a factory in Hamburg, Germany. Both of these factories have been producing pianos for over a hundred years.

Overall, the pianos coming out of each factory are incredibly similar. Both factories produce nearly all the same models today; which is not something they have always done. For most of the 20th century, New York Steinway was producing the model L while Hamburg was producing the model O. Both of the pianos are the same size, 5-foot 10 1/2-inches, but they have different scale designs. Earlier in the 20th century, New York Steinway was also producing Model O’s but they then switched to the L. Recently the L model was discontinued and now they only produce the Model O in both factories. Recently New York Steinway started producing the model A (6-foot 2-inch) which was only built in Germany, however, it was built in New York early in the 20th century. (There was also a model termed the “stretch A” which measured 6-foot 4-inches.) The model C (7’ 6” in size) is only built in Hamburg Germany even today.

One of the biggest difference between the two different factories is the actions. New York makes their own actions while Hamburg utilizes Renner (an esteemed German action manufacturer). The New York Steinways have unique design elements only available on the Steinway made actions including the Accelerated Action.

Another difference between the two factories is that Hamburg Steinway’s tend to have slightly thicker soundboards than their New York counterparts. This means that the Hamburg Steinway’s are a little bit more subdued and it takes a bit more effort to get a larger sound out of them (depending upon voicing).

Ultimately the difference between New York and Hamburg Steinways comes down to the individual piano.

Some people appreciate the higher degree of refinement of German Steinways direct from the factory. However, with the proper preparation, these differences may not be so great. This means that American Steinway technicians play a very important role in each dealer getting the pianos to play on the highest possible level.

I hope this sheds some light on the similarities and differences between New York and Hamburg Steinway pianos.

As musicians, we practice and perform as a part of our daily routine. Just like any other professional, we have our tools of the trade that we must keep intact. For me it’s my hands – I couldn’t imagine hurting my hands and being unable to play the piano. Now accidents can happen and there is no way to protect yourself 100% of the time but there are some great tips for every musician in order to prevent injury while playing your instrument.

Think holistically:

Staying healthy is paramount to everything else. Every morning I do Yoga to loosen up. I try to eat right as well as take walks and exercise when I can to keep myself in good shape. This goes a long way toward preventing injury while playing your instrument – being out of shape can lead to more frequent injuries.

Many instruments are different but the same principles remain for all of them. As a violinist you have to hold your instrument in an awkward position – the same goes for flutists and other wind instruments. Having to hold an instrument for long periods of time can really take a toll on you. This is why posture is so important. As you know, I play the piano, so posture is a bit different, but it still matters in holding a position for long periods of time without causing injury. You’ll want to make sure that the bench is the appropriate height – your arms should reach out in a straight line and touch the keys. Your hands should rest comfortably between the white and black keys and you will want to make sure you are sitting in a position where you won’t have to reach in an uncomfortable position to play keys further away from you. You must be able to move about freely. Every instrument is different but learning your optimal posture is essential on your instrument.

The most important thing you can do is be comfortable. Don’t sit in any position that will cause a strain and don’t force yourself to sit or stand in a way that is uncomfortable for you. If you are playing a solo recital make sure to adjust your seat and get comfortable before playing. What seems like an eternity to you will be nothing more than a few seconds to the audience. It’s perfectly fine to take your time before playing a performance – both you and your audience will appreciate the extra time you take to prepare yourself!

Another thing that is essential in the life of a musician is to take frequent breaks. This means getting up and walking around, stretching, doing whatever you need to do to get back into a comfortable atmosphere. Don’t overdo it with practicing, sometimes the best thing you can do is to walk away for a few minutes and rejuvenate.

It’s also a good idea to vary your repertoire as well as your practice technique. For example, if you’ve been working on scales for a while do something completely different like sight-reading or memorization. This will help to prevent fatigue and will keep your mind and body fresh and moving all the time.

The short answer is you can start music lessons at any age and have some degree of success. Being able to master an instrument is really a lifelong pursuit but being able to play at some level of proficiency is something anyone can do at any age.

If you had never been exposed to classical music in your life and you decided that in your 20s or 30s you wanted to become a concert violinist, you would have an incredibly tough road ahead of you. The coordination required; the understanding of musical language; there are many reasons why this would be extremely difficult. This is not to say that mastering an instrument later in life is impossible though. Many musicians have learned instruments later on in life and had a huge degree of success. But how is this possible?

Being exposed to music from a young age is incredibly important for success in music. It can increase the development of your brain for music and it can provide you with an understanding of the musical language. For example, if you already know how to play one instrument, it will be much easier to learn a second instrument. This is because you already have an understanding of the musical language.

There are some instruments that are best to learn at a young age – specifically string instruments and the piano – but it’s not impossible to learn them at any age. If you start later in life you really should have realistic expectations. No matter how much I may want to be a professional basketball player, at my age it is virtually impossible.

It’s important not to get hung up on what level you can eventually achieve on an instrument. If you want to learn an instrument at any age, it’s a great idea as long as it’s enjoyable for you. Musical development is something you can enjoy for the rest of your life no matter what your age or level!

All performers experience a certain degree of stage fright. Standing in front of a room full of people is bound to intimidate anyone! Your pulse will rise and your hands may sweat, but there is nothing to worry about; it’s all natural behavior. This article (and video) will provide some tips on how to deal with this common problem that nearly every performer faces.

Stage fright is merely a normal physiological response dating back to the fight or flight response during prehistoric times. While these metabolic and stressful reactions aren’t necessary for a modern society, they aren’t going away anytime soon. In other words, you have to deal with them. You may learn to harness this energy in positive ways – but how is this possible?

There is a recurring dream I have where I am playing piano in front of a large audience. I am performing for memory when I realize that I haven’t finished learning the rest of the piece! It’s more of a nightmare, really.

This brings us to the first step in overcoming stage fright, being prepared.

Prepare like crazy! You never want to be in front of an audience unprepared; it’s suicide. Preparation enables you to relax and enjoy the performance which makes the experience rewarding for the audience.

Another vital aspect of overcoming nerves is to practice performing.

Practicing by yourself is great but in order to prepare effectively, you will need to play for an audience. This is something that many musicians overlook, but it is absolutely essential. You can start out with low-pressure situations playing for friends and family. Play for anyone who will listen. Treat it like a public performance. Start with smaller groups – even one person can be enough at first. Gradually build your way up to larger audiences. This also enhances the effectiveness of your practice. You will spot problem areas to focus on in practice. Also, you will get a feel for the pacing of your program.

You must prepare for a performance both physically and mentally.

There are a number of things you can do physically to prepare yourself. Being well rested is certainly important. However, you may not want to deviate from your normal routine too much. It’s a good idea to stay away from caffeine and sugar right before your perform since both can make you jittery which can have an adverse effect on your playing. It’s best to eat a balanced meal before the performance. Foods like bananas and rice are easy to digest. Make sure you time your meal so you aren’t too full or hungry during the performance.

Mental preparation is incredibly important for successful performing.

I’ve had times where I was running around all day before a performance – making calls, answering emails, making videos – and without a moment to spare I have to plop myself down and perform. How do I deal with that? The short answer is I think about my performance a great deal before the actual day of the concert. I spend a lot of time running through the performance in my mind, thinking not only about the music, but sensing the audience as well. Some people suggest blocking out the audience to avoid getting nervous; This can be a great mistake! In fact, a great exercise is to lie down with your eyes closed and imagine being on stage. Think about sitting down at the bench of the piano, looking at the logo on the front of the fallboard. Take a deep breath imagining that moment while sensing the audience around you! On the day of the actual performance, you will be prepared by taking a deep breath, looking at the fallboard, and rekindling the comfortable acceptance of the audience as you had earlier.

The short answer is, yes, you do! I’m going to show you a couple of ways to possibly get around it. First of all, it depends on how big the piano is. If it’s a spinet piano and you have a pickup truck as well as some strong people plus a ramp, sure you can go for it. Be sure that you know how to properly secure a piano in a truck with straps as well as being able to wrap it in moving blankets properly. I would recommend this for pianos that are not expensive. The reality is, moving a piano is a very specialized skill. I have a video on the subject you can reference to see how it is done. https://livingpianos.com/general/how-to-move-a-piano-tips-for-moving-a-piano

When you see professional movers move a grand piano, they make it look easy because they know how to use leverage properly. There are also tools you need such as a skid board. Even with uprights, you want to put them on a flat board as well as a dolly. There are upright dollies that you can rent that strap around the piano. The thing is, pianos are extraordinarily heavy. I would not recommend for anyone who has ever had any back problems to move any piano under any circumstances, even moving a piano from one part of a room to another. You can do damage if you don’t know how to lift properly even if you have a strong back.

The secret is lifting with your knees. Never lift with your back and always lift with your legs while keeping your back straight or you can do damage almost instantly with a piano.

Even a spinet weighs several hundred pounds. It’s just not worth saving a few hundred bucks to risk destroying your back. So how can you possibly get around it? Fortunately, there is a way! If you have a move, particularly a long distance move, you can hire local movers on each end to load it onto a U-Haul or into a truck. You can avoid the expense of the mover going the entire trip, and that could save you quite a bit of money. You will need to rent or borrow the proper equipment to move a piano such as a skid board and 4 wheel, flat dolly made specifically for grand pianos. Grand pianos are moved on their flat side, and the skid board adds stability and protection for the piano.

My recommendation to you is to use a professional piano mover who specializes in moving only pianos. If you want to do it yourself with an upright, you must have strong people, a dolly and a truck with a ramp as well as the other essential supplies to protect your piano. Avoid moving a valuable piano yourself since anything can happen. For a fine piano, at least get professional piano movers to load and unload the piano on both ends. I hope this helps and thanks for joining us! Robert@LivingPianos.com

Whenever I meet new students, the first thing I do is listen to them play. Then I ask them a critical question, “Has anyone ever taught you how to practice?” One of the most important things a teacher can share with a student is how to practice. A teacher might be absolutely brilliant but their time with a student is very limited (typically an hour a week or less). The student’s progress is determined by what they do the other six days of the week. Effective practice is critically important.

I have previously produced videos on all three skills. (You can follow the links below.)

The first skill that any pianist needs to learn is memorization. With some instruments, you can actually play and look at the music the entire time. With the piano and other instruments, there is certain music that forces you to look at your hands (specifically music with big leaps). The complexity of some scores necessitates memorization. Here is a video on the subject:

If you look at a piece of music one of the very first things you will see are two numbers – it almost looks like a fraction. Some common time signatures you have undoubtedly seen before are 4/4 or 3/8 , these are not just arbitrary numbers, and they have a very important role in the timing of the piece.

But what do these numbers mean? Well the top number is easy; it tells you how many beats are in each measure – so in 3/8 time it you would have 3 beats per measure.

But what does the bottom number mean? When teaching, I sometimes refer to it as the mystery number because it surprises me how many students don’t know what it actually means! So in the example of 3/8 time, the bottom number 8 represents the kind of note getting ONE beat. So let’s break this down so it’s easier to understand. Here is the guide for what the bottom note stands for:

1 = Whole Note
2 = Half Note
4 = Quarter Note
8 = Eighth Note
16 = Sixteenth Note
32 = Thirty-second Note
64 = Sixty-fourth Note
128 = One-hundred-twenty-eighth Note

How many beats in each measure
Kind of note getting ONE beat

3 – There are 3 beats in a measure
8 – An eighth Note Gets ONE beat

Now one thing you would never see is something like 4/3 or 4/7 time because there is no 3rd or 7th note that exists in music – the bottom number will always represent the kind of note getting one beat.