Living Pianos

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to share with you a technique for balancing your hands on the piano. One of the great things about the piano is the fact that you have different parts with your two hands. But that also makes balancing the hands difficult. I’m going to demonstrate using Fairy Tale by Kabalevsky. Watch the video for the demonstration. You’ll hear the balance of the hands with the melody above the accompaniment, which is sometimes difficult to achieve. I’m going to show you some techniques to achieve this. I have a secret technique for you that I bet you’ve never tried before!

You can use different articulations in each hand.

You can play a gentle finger staccato in the left hand to be able to differentiate the two different lines. When you do that, you get a totally different feeling in each hand. One of the simplest techniques, by the way, is to simply lean more weight on one hand than the other. Make your right hand heavy and your left hand light. Now, that sounds really easy, but it’s not always that simple. Sometimes, when you’re playing, it’s really difficult to even hear what the balance is like. Not only that, you can practice hands separately, but when you put the hands together, it’s a whole different story. How can you control the melody while also playing the accompaniment and hear everything clearly?

Try playing with one hand on the keys and the other following along on top of the piano.

By playing one hand where you absolutely hear nothing, it gives you a chance to listen to the melody. You can also reverse the hands and do the same thing to make sure you’re getting the appropriate balance out of each hand. First, play just the melody by itself without encumbering yourself by playing on top of the piano. Then, try it with one hand on top of the piano and see if you get the same sound. You can check your work by listening to each hand independently on the piano, then adding the other hand on top of the piano so you can hear if you can get the same sound when you are coordinating both hands.

Using this technique, any little deviation becomes obvious to you.

You’re going to clearly hear any issues. When you’re hearing the hands together, it’s hard to distinguish one line from the other. Your brain can’t always hear everything. So this is a universal technique you can utilize whenever you’re having difficulty either balancing the hands or creating the correct rhythm in each hand when putting the hands together. Play one hand on top of the piano so you can hear things. Compare it to what it’s like when you’re just playing each hand separately without the other hand playing on top of the piano. This is a great technique. Try it out! Let me know how it works for you! Leave your comments here at LivingPianos.com and on YouTube! Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

Secret Technique for Balancing Your Hands on the Piano

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

The 20 Skill Sets You Need at the Piano

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m introducing you to the ultimate piano light. I’ve spent years looking for the ultimate piano lamp, and I’ve finally found it. Or, I should say, it found me. Several months ago, I was approached by someone who said they had a piano lamp they wanted me to check out. I looked at it, and it was for an upright piano. So I told them that most of the people who get pianos from us have grand pianos, so I really wasn’t interested. But I also said if they ever have a grand piano lamp to contact me again. I never expected to hear from them again.

People ask me all the time where to get a good piano lamp.

In this room, I have all kinds of exotic lighting to make videos I make here look good, so it’s not a huge issue. But even here, the music is not as bright as I’d like. The problem with piano lamps is that they usually don’t light the keys. You can get clip-on lamps, but they don’t come out far enough. So the keys are in shadow. He actually came through and sent me two lamps. I want to make no bones about it. I told him that unless I like these lights, I’m not even going to review them because I didn’t want to say anything bad about them. But I love these things! I’m using them now, and I want to show you what’s so great about them.

What should you look for in a piano light?

And if you can find anything as good as this, you’re really lucky. But if not, check them out for yourself on Amazon. They’re really reasonable. I can’t even believe it. It attaches to the music rack on the piano. You just twist it on, and it stays on securely. It’s a gooseneck, so you can put the light wherever you want. And most importantly, it goes out far enough so that when you turn it on, the keys are lit. No shadows on the keys, like so many other lamps! This one is long enough that you can light the keys and light the music. Not only that, but you also have control over the brightness and color temperature, which is nice to have. I kind of like the pure white and the brightest setting personally, but you might like something different. Late at night, you might not want to have that extreme, bright white light. Another nice feature is that when you turn it off, it remembers your last setting. When you turn it on, it’s exactly where you left it last.

There is a version of this lamp for upright pianos too.

Once again, you have a nice long gooseneck. The only difference is that it sits on a base instead of clamping onto the piano. You can put it wherever you want it! You can even put the base backwards so you get that gooseneck as far out as you need it. These piano lamps are everything that I’ve been looking for! If you’re looking for a great piano lamp, this is what I recommend. Check them out, and let me know what you think 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

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrinContact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

The Ultimate Piano Lamp

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how speeding causes accidents. That’s a really interesting phrase that somebody brought to my attention recently. I thought maybe I could shed some light on what he’s talking about because he is a piano teacher who is in the piano industry and he has keen insights. When you play a performance, your heart goes a little faster. You may get a little bit nervous, and you will tend to go faster without realizing it. And what happens? Things fall apart, and it can become a disaster!

I always recommend taking a deep breath when you sit down to play for someone.

Before you start to play, think about your tempo, and then slow it down a notch in your mind. When you think of your piece, then just slow it down a little, you might be at exactly the right speed. What else can you do to avoid speeding and causing accidents in your playing? Well, one thing is to practice with a metronome. Try to have a little margin above your performance tempo. Practice playing faster than you need to play so that, in the inevitable situation where you play a little faster, you are prepared. Maybe you’re accompanying another musician and they take a faster tempo, so you have no choice. Be prepared by practicing faster.

Lighten up your playing.

Speed and power are inversely related. The faster you play, the lighter you must play in order to avoid fatigue. So if you find you have to go faster for whatever reason, lighten up your playing. Conversely, an incredibly valuable technique to avoid problems when playing fast is practicing slowly. You can develop security by playing very deliberately at a slow speed and playing very articulated notes with raised fingers. This trains your hands to know which fingers are down and which fingers are up. If I were playing the E-flat impromptu of Schubert, in order to play it up to speed, I would have to play extremely lightly with my fingers right on the surface of the keys. It would be really difficult to play that with raised fingers. It’s literally painful to do that! However, when playing slowly, that’s exactly what you want to do. Feeling each finger on each key is so satisfying. It trains your hands and really solidifies your musical performance.

You want to have the opportunity to find any weaknesses by playing slowly.

It’s like putting your playing under a microscope. It’s an analytical way of making sure everything is secure. If you play fast all the time, mistakes will creep in. You might not have absolute clarity. If you were to play fast all the time and then slow down what you were doing, you might find that instead of playing every note cleanly, you might actually be overlapping notes. If you only play fast, how do you know the releases are really true and precise? Slow playing allows you to analyze every finger that’s down and every finger that’s up.

Remember these tips!

In performance, deliberately play a little bit slower. Prepare yourself by practicing slowly with raised fingers to solidify your playing. You can also do progressively faster metronome speeds so you can get up to speed cleanly. As you get faster, stay closer to the keys. Try to get your music at a faster speed than you will perform so you have a margin of safety in your playing, I hope this is helpful for you! Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

Speeding Causes Accidents

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m going to tell you why rests are as important as notes. I’m going to get a little bit metaphysical with you for just a moment. In some of his writings, Carlos Castaneda talked about how, when you’re looking at a tree, for example, you learn to tune out the space between the leaves and just focus on the leaves, as if the space between the leaves isn’t anything. But if there was no space between the leaves, you couldn’t identify the leaves!

The only thing that gives anything you look at definition is the space between.

In the universe, you have matter, energy, and the space between things. If there was no space, you would not be able to discern any matter because it would be just a whole conglomerate of mass. There would be nothing. If everything was mass, how could you have anything? Okay, that’s kind of a heady subject, but this relates to rests in music. How can you have sound if you don’t have silence? You need balance between what is and what isn’t: life and death, black and white, good and evil. This duality of reality is prevalent in music.

Rests make it possible to have music.

Without rests, you wouldn’t have sound. It’s the drama of waiting in anticipation for what’s coming next that gives music power and makes it compelling. Listen to a great jazz artist, and it’s the time between the notes where they’re formulating their ideas, much like a conversation. There’s nothing worse than getting stuck with someone who talks nonstop. You find yourself tuning out. You can’t even consider what they’re saying. It’s only the time between the sentences and your thoughts that gives you a chance to assimilate the information. And so it is with music.

Take rests for their full value!

It’s the mark of a great musician. Nothing irks me more than when I hear an accomplished concert pianist not hold rests long enough. It loses the character of the music. So remember, rests are just as important as notes. You can’t have notes without rests. Consider the time between the notes just as important as the notes themselves. I hope this resonates with you.

It’s easy to rush your counting when you’re counting rests. When nothing’s going on, it’s easy to speed up your counting! So deliberately slow down your counting to compensate for your natural tendencies. And check your work with the metronome to make sure you haven’t overcompensated. 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

Why Rests Are as Important as Notes

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m going to tell you why rests are as important as notes. I’m going to get a little bit metaphysical with you for just a moment. In some of his writings, Carlos Castaneda talke

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m talking about modes. You may have heard of modes. It may even have been explained to you in some way that seemed incomprehensible. How can you possibly remember all of your modes? Well, you can’t! I’m going to show you the easiest way to figure out all your modes. You’re going to know all your modes, and you’ll be able to play them in all keys if you know your key signatures or your major scales.

Let me first show you a major scale.

A major scale is just a series of whole steps and half steps. It’s actually all whole steps, except between the third and fourth and seventh and eighth notes. The white keys on the piano represent a C major scale because you have whole steps except between three and four and seven and eight (E-F and B-C). That’s the way all major scales work. So that can be transposed for all major scales. So what the heck are modes?

Modes are simply starting on a different note of the major scale!

The major scale is the Ionian mode. If you start on the second degree of a major scale, that’s called the Dorian mode. If you start on the third scale degree, you get the Phrygian mode. If you start on the fourth scale degree, you have the Lydian mode. If you start on the fifth note of the major scale, you have the Mixolydian mode. Starting on the sixth note, you have the Aeolian mode, which is also the natural minor scale. And finally, starting on the seventh scale degree, you have the Locrian mode, which is not used very often in music. Those are all the modes!

You can easily figure out all your modes, provided you know your major scales.

For example, if you were playing the Ionian mode in C, it’s the same as the C major scale. But if it’s the Dorian mode, it starts on two. Well, C is the second note of a B-flat major scale. So you just play the notes of a B-flat major scale, except starting on C. To play the Phrygian mode, you play all the notes of an A-flat major scale, except starting on the third note of the A-flat major scale which is C. For Lydian, you would start on the fourth note of the G major scale (also C). For Mixolydian, C is the fifth note of the F major scale. For Aeolian, C is the sixth note of an E-flat major scale. And finally, the Locrian is the seventh note of the D-flat major scale.

If you know your scales or your key signatures, you just start on any note of that scale.

Once again, if you start on the second note of the scale, it’s the Dorian mode. The third note of the scale is the Phrygian. The fourth note of the scale is the Lydian. The fifth note of the scale is the Mixolydian. The sixth note of the scale is the Aeolian. And the seventh note of the scale is the Locrian. You can start at any scale degree. That’s all there is to it! This is so much easier than memorizing seven different whole-step and half-step relationships. I couldn’t keep all of that in my head. And you don’t need to! Just think of key signatures and where you’re starting within that key signature, and you have all your modes.

What are modes for?

Modes are really useful in musical compositions from different periods. Before major and minor tonality were prevalent in Renaissance music, it was all based on modes. The Ionian mode (major scale), and the Aeolian mode (natural minor scale) came to dominate Western music in no small part because of the raised seventh. That’s why the minor scale has a raised seventh. The minor scale is usually in the harmonic form or the melodic form, both of which have raised sevenths. The melodic also has a raised sixth, giving that strong tonality of the raised seventh. Listen to the difference between a natural minor and the harmonic minor and how much more driven you are to resolve to the tonic note at the top of the scale with the harmonic minor with the raise seventh compared to the natural minor or Aeolian mode. The natural minor floats up there, but you don’t feel propelled to resolve to the last note of the sclae. It doesn’t really propel you the way the raised seventh does. These are the roots of tonality in a nutshell: the raised seventh that is brought about with the Ionian mode, which is your major scale, and the natural minor that has the harmonic and melodic versions that give you that strong sense of tonality. You may wonder about the Lydian Mode that has a raised seventh, but the two tri-tones in there give it a very austere quality and an ambiguity that you don’t get with major and minor tonalities.

So that’s everything you want to know about modes and more! 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

What Are Modes?

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m talking about modes. You may have heard of modes. It may even have been explained to you in some way that seemed incomprehensible. How can you possibly remember all of your modes?

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how to make your piano sound its best. This is a really important subject for any of you who own pianos. Many of you know that Living Pianos started in 2006 as the World’s First Online Piano Store. We have sold hundreds, if not thousands, of pianos over the years. With every single piano, it’s a project to get it to sound its best. So I thought I’d share some tips with you. I sometimes describe preparing a piano as one definition of infinity: going halfway to perfection again and again and again without ever reaching it. Of course, you can try to get as close as you can. Then maintaining it at that level is a challenge in itself.

What are the things that you can do to make your piano sound its best?

First of all, we must assume that your piano’s parts are not worn out. If you have a piano with rusty strings that are lifeless, you’re not going to get a great sound. If your hammers are worn out, there’s only so much you can do if you don’t have food felt to work with. So I want to make the assumption that your piano isn’t worn out and that there are no major problems with it. Obviously, it’s going to make your piano a heck of a lot better if you take care of any issues you have with it.

Even brand new pianos don’t come out of the box anywhere close to their potential.

If you ever go to a piano store and they offer you a new piano in the box, run! You don’t want that. It’s up to the dealers to do the prep. You can actually do days of work on a piano, depending on how far you want to go with it. Most dealers are not going to spend that kind of time. It’s very expensive and time-consuming. They’re not going to do that with the vast majority of their pianos. Maybe only the really special ones. Here at Living Pianos, we’re different. We’re more of a boutique store. We have primarily top-tier pianos, and we go the extra mile on all of them. But that’s not the norm. So I’m going to tell you what you can do with your piano to make it sound its best.

Tuning your piano on a regular basis is the first step.

The more you tune your piano, the less you need to tune it. That sounds crazy, right? Well, it’s true. If you tune your piano a lot, it becomes so stable that it almost doesn’t go out of tune. But if you neglect the tuning for a number of years, then the next tuning won’t hold very long. So you want to get ahead of the curve. There are many other techniques that can enhance the tone and the playing of your piano.

Regulation has to do with the several adjustments that are made on each key.

One aspect of regulation is key height. If the keys of your piano are not all the same height, obviously you’re not going to be able to play smooth melodic lines. Another aspect is key dip. When you push your keys down, they should all go down the same amount. If they don’t, then how could you possibly get a consistent sound? Another aspect is let-off. If you look inside the piano, you’ll see that the hammers let off the strings after striking them. They should all let off at the same distance, so you get a consistent performance. And there are other things. There are about half a dozen adjustments on each key of a piano. So regulation is a pretty involved process.

There’s also the voicing of your piano.

One of the most important aspects of voicing is the shape of the hammer and the hardness of each hammer. You want to adjust the hammers to the right hardness to produce a warm or bright sound, or the amount of brightness that you like in all registers. This is an arduous task that few piano technicians know how to do. When we first moved from California to Cleveland, it took a while for us to find top-notch skilled technicians who are on a master level to perform that kind of work. I would recommend seeking out somebody who tunes for your local symphony or concert hall, because very few piano technicians really know how to do that kind of meticulous work. But it can really make a big difference in the sound of your piano. Even if you buy a brand new Steinway or Mason & Hamlin, that piano can be improved dramatically from the way it comes out of the factory.

What else can you do to improve the sound of your piano?

Another thing you can look at is string leveling. If the hammer hits the strings, and some strings are slightly higher than others, then the hammer is not going to make contact with all the strings equally, and you’re not going to get the same attack and sustain. Each string could be leveled, or the hammer could be shaped to impact all three strings at exactly the same time. There’s also damper regulation. When you play a chord on the piano and then release it slowly with the damper pedal, you want a smooth release. Sometimes you’ll hear funny noises if your damper felt is too hard. You may need new damper felt in order to get clean releases. At the end of a beautiful, slow movement, you may want to fade out the sound of a chord. The only way to do that is to release the pedal gradually. If the dampers are hard or they’re not regulated properly, you’re not going to get a consistent sound.

There are many other things that can be done to enhance the sound of your piano. One of them is string termination.

The strings have to terminate on either end of the speaking length of the string. At that point where the string meets metal, you want it to be a clean place. When you play your piano, the hammers are hitting the strings, and they might elevate just a fraction of an inch over time. If there’s not a clean termination at the points where they meet the bridge, how can it possibly transfer the sound appropriately to the soundboard? It can’t. Tapping the strings down at all the points of termination on the bridges can really enhance the sound. Now, keep in mind that if you do that, you’ll have to tune your piano. But if you’ve never done this on your piano and you are a strong player, it probably will make a big difference in getting a longer tone life. Because if you don’t get good, solid, clean termination of the strings, how can you possibly get consistency from note to note? Some notes will sustain longer than others.

There’s also the pedals.

I talked about the damper regulation, but what about the una corda pedal, also known as the soft pedal? When you depress the soft pedal, the action moves from side to side. It’s a different part of the hammer that impacts the strings. You can actually voice that part of the hammer that comes in contact with the strings when you depress the una corda pedal. There’s also the middle pedal, the sostenuto pedal. You have to make sure that it’s adjusted properly so it only holds the notes you want it to hold.

There are unique challenges with different pianos that you have to take into account.

These are just some of the common things that we do to pianos, which you can consider doing to your piano if you can find a high-level piano technician. It can make a world of difference to the sound of a piano. I work closely with our technicians, going back again and again. Sometimes, in the highest octave, you get to a certain note, and they will sound like a tapping sound instead of a pitched sound. That’s because of what’s called strike point. The hammer has so little string space up there that it might not be hitting the string precisely. It can be hitting where the string meets the bridge. To remedy this, the hammers have to be adjusted ever so slightly. Or sometimes, the entire action can be adjusted to move in or out just slightly, so the hammers are hitting exactly the point of the strings that they should be hitting.

There are so many techniques to make your piano sound its best!

If I talk to my piano technicians, I could probably tell you more. But I’ve given you a whole lot to think about. So hopefully, you have a piano technician who can take your piano to the next level. Let me know what 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.

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

How to Make Your Piano Sound Its Best

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how to make your piano sound its best. This is a really important subject for any of you who own pianos. Many of you know that Living Pianos started in 2006 as the World

Welcome to LivingPianos.com, I’m Robert Estrin. I’m here today with an interesting question. What are there 2, 3, and 4 of in music? Those of you who are music theory aficionados might want to stop right now and see if you can figure out what the heck I’m talking about. I could actually start with what there is only one of!

What is there 1 of?

There is only one chromatic scale. It doesn’t matter where you start or stop. It’s all the same because you are just moving up by half-steps.

What are there 2 of?

There are, believe it or not, only two different whole-tone scales. Play a whole-tone scale starting on C. Then, go up a half-step, and you have another one. But go up one more half-step, and you’re back to the first one again! So I think you see where I’m going with this.

What are there 3 of?

There are only three different diminished seventh chords. What’s a diminished seventh chord? A diminished seventh chord is a chord built all with minor thirds. That is three half-steps apart. So we build the first one, starting on C. Three half-steps up is D-sharp, then F-sharp, then A. That’s your diminished seventh chord. Move that chord up a half-step, and you have another one. That’s the second one. Move another half-step, that’s the third one. But if you move up another half-step, you’re back to that first one again. So there’s one chromatic scale, two whole-tone scales, and three diminished seventh chords. You probably see the pattern here.

What are there 4 of?

There are only four different augmented triads. Augmented triads are chords containing two major thirds. Major thirds are a total of four half-steps. Starting on C, move up four half-steps to E, then G-sharp. That’s an augmented triad. Move that up by half-steps, you have the second, third, and fourth one. If you move up one more time, you are back to the first one. These are interesting patterns. Did you ever realize this before? The one, two, three, and four of music is what it’s all about. I wonder if anybody else has any observations on how we could go further. If you have any way of going further with this, let us know in the comments here on 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

What Are There 2, 3, & 4 of in Music?

Welcome to LivingPianos.com, I’m Robert Estrin. I’m here today with an interesting question. What are there 2, 3, and 4 of in music? Those of you who are music theory aficionados might want to stop right now and see if you can figure out

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m going to talk about why balance is easier at faster tempos. What am I talking about with balance? I’m talking about where one hand or one part of your music is louder than another. Why should the speed at which you play have anything to do with making it easier or harder to differentiate volume in your music? I’m going to show you here today. I’m going to use a Heller Étude in C major to demonstrate this.

Why is balance harder at a slow tempo?

I’m going to play this étude at an extraordinarily slow tempo, which will instantly make it apparent why playing slowly makes balancing the volume harder. The reason why it’s harder to achieve balance between parts on the piano, whether it’s between the hands, or parts within a texture that has more than one note in each hand, is because when you play the piano, the notes are fading away. So when you’re paying more slowly, you can’t sustain notes long enough without using a great deal of energy.

Watch the video to hear the demonstration!

I’m going to play a little bit of this Heller étude up to performance tempo. You’ll hear the nice balance that’s achieved. You can hear the beautiful singing melody, and the accompaniment is very hushed. But listen to what happens if I play this dramatically under tempo. The right-hand melody notes, which are slower than the left-hand notes, fade out! The low notes overtake the melody unless you really delineate the melody. At a slow tempo, you have to use tremendous energy to project the melody to get the notes to overtake the left hand. If you were to play with that much differentiation between the melody and accompaniment at a faster tempo, it would produce grotesquely exaggerated playing.

At a slow tempo, you must use more energy to bring out the melody.

The slower you play, the more differentiation between melody and accompaniment you must have in your playing to get the same balance because of the envelope of the sound of the piano where the notes have a strong attack, then a decay, and then a slow sustain that decays further. So when you’re playing very slowly, the held notes are on the very quiet part of the sound after the loud initial attack. You must make up for this by using tremendous energy to project a melody over the accompaniment.

At a faster tempo, balance is much more intuitive.

When you are playing fast, you don’t have to have such an extreme difference between melody and accompaniment. To be cognizant of the envelope of the sound of the piano, try playing some of your pieces on an organ. You’ll be astounded at how loud those long notes are because you’re used to compensating naturally to get the proper balance. It’s an organic part of playing the piano, overcoming this natural limitation of the tone of the piano. It’s a limitation that we have to deal with in order to achieve the illusion of a singing line, and to be able to create balance by adjusting the intensity of the melody depending on how fast the melody is. I hope this is helpful for your piano playing! 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

Why Balance Is Easier at Faster Tempos

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m going to talk about why balance is easier at faster tempos. What am I talking about with balance? I’m talking about where one hand or one part of your music is louder than a

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