Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you about the five benefits of scales and arpeggios. Maybe you work on scales and arpeggios on a regular basis. Maybe you know you should, but you don’t. You might wonder if it’s really that important. I’m going to give you five reasons why working on scales and arpeggios is worth your while!

One of the most obvious reasons is that it improves the evenness of your playing.

When you’re playing scales, you are focusing on the evenness. You’re focusing on your hands being precisely together, the evenness of the sound, and the evenness of the release of the notes. It gives you that benefit in your playing because scales are an abstraction. It’s not music. But if you practice your scales diligently with a metronome slowly and then increase the speed until you can play scales rapidly with evenness, think what that does for your playing!

Playing scales can help you develop strength.

There are two reasons for this. First of all, you will play more notes in a short amount of time when you’re working on scales and arpeggios than working on your music. A lot of your practice of music is a mental exercise. If you’re learning a score, you’re focusing on all the details, like the harmonies and the fingering. It’s a mental effort. When you’re working on scales and arpeggios, it’s all physical. Slow practice of scales is unbelievably important. In fact, in some ways, it’s even more important than fast-practicing of scales. You really develop strength when you’re hammering each note with your fingers, not just using your arms. Of course, you get a lot of power with your arms, but try to play fast that way. It can’t be done! But if you use each finger, raising the fingers and coming down, it stretches your hands and fingers so that you can get a nice, clean attack on each note. Most importantly, you get precise releases of previously played notes in scales and arpeggios. So the spaces between the notes are equal. This is a tremendous way to develop strength in your playing.

Another benefit of working on scales is developing speed in your playing.

How do scales help you develop speed? Once again, the metronome to the rescue! You work slowly. Now you may be able to go from one note to the beat to two notes to the beat. But going from two notes to four notes could be too great a leap. So you might want to just do one or two notches faster at a time on the metronome. As you’re getting faster, you’re getting lighter so that you can develop speed. It’s a terrific way to develop speed because you don’t have all the complexity of shifting harmonies, inner voices, fingering patterns, phrasing, and expression. It’s just an abstraction of piano technique. So it’s a terrific way to develop speed in your playing.

Knowing all major and minor scales and arpeggios is a tremendous benefit to your fingering.

After all, the vast majority of music you play is built on scales and broken chords. If you know all your scales and arpeggios, when you have them in your music, it’s not something you have to practice. You already have the technique there! Now you might think, how can you learn all scales and arpeggios? Well, there’s a very simple way, and that is to just focus on one each week. Spend 5 or 10 minutes a day on scales in your practice. When your mind is tired and you’re ready to quit, that’s the perfect time for scales or arpeggios! It uses a different kind of concentration. Even though you might be mentally tired from memorizing or working out thorny passages in your music, you can still work on scales.

If you do one a week, after a year, you’ll know all major and minor scales and arpeggios!

But that’s not the end. That’s the beginning! Next year, you can start increasing the speed of all of them. Some of them might become more fluent than others. I suggest keeping track of them with a chart so that you know which ones need work. Eventually, you’ll get all your major and minor scales and arpeggios at a certain speed. Then you can notch that up and notch it up again. It’s a never-ending process! There are many other ways you can practice scales and arpeggios, but the first order of business is just to learn all of them. If you consistently spend 5 or 10 minutes a day on scales and arpeggios, it will really help your playing.

Lastly, it improves your reading of music.

When you’re reading a score, if there are scale passages and arpeggios, you don’t have to figure them out. You will already know how to play them! So the fingering becomes obvious. These passages become fluid for you. So these are five reasons it’s worth spending 5 or 10 minutes a day on scales and arpeggios. Once again, it improves your evenness, develops your strength, increases your speed, helps you with fingering, and improves your reading. So if you haven’t been doing scales and arpeggios on a regular basis, what are you waiting for? You don’t have to spend hours a day doing it; just a little bit of time each day when you’re tired of working on other things. Add this to your regimen! I promise you will get benefits. What has it done for your playing? Share your thoughts on scales and arpeggios 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.

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you why all beats are not created equal. Did you know that typically in 4/4 time, the strong beats are the first and third beats? The weaker beats are the second and fourth beats. In particular, the fourth beat is not as strong.

The way you count should reflect the feel of the music.

Instead of counting rigidly, you end up counting with accents on the first beat or the first and third beats. I’m going to demonstrate this with a Haydn sonata in D major, so you can hear for yourself. First, I’m going to play it with all the beats absolutely equal to hear what it sounds like, then I will play it with accented beats.

Watch the video to see the demonstration!

When you play with all the beats equal, it doesn’t have a bounce. It doesn’t have a pulse. It just kind of plods along. By playing with accented beats, you give your music a pulse. This isn’t only for 4/4 time. How about 3/4 time? You certainly wouldn’t play a waltz with all beats equal. It would lose the feel of the music.

You have to figure out where the strong beats are.

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you about the magic of fractal practicing. Fractals are when one part of something is the same as the whole. No matter how small you go, it’s just a replication of the bigger part. You’ve probably seen pictures that are fractals. No matter how much you zoom in, you keep seeing the same patterns. Your music could be thought of in the same way.

Watch the video to see the demonstration!

I’m going to demonstrate with a little piece of Kabalevsky called Fairy Tale. I’m going to start at the beginning and play a little bit, delineating each phrase for you. Then I’m going to do it again, but this time I’m going to put those two phrases together as one long phrase and see what that sounds like.

You could take a whole section of music and think of it as one big phrase.

Ultimately, the entire piece is one statement. As Rachmaninoff said, “The bigger the phrase, the bigger the musician.” Now, here’s where it gets really interesting. If you’re playing a program with several different pieces, for example, you play a sonata, which has three or four movements. At first, each movement is its own concept, its own large phrase. Eventually, the whole sonata becomes a coherent whole thought—one big phrase. Then half a program can become one musical statement. And then the entire program can be one big phrase.

If you start thinking about these larger units in your music, it becomes true storytelling on a personal level.

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you how you can use tempo as a practicing tool. This is incredibly valuable for you! It could save you a vast amount of time by making your practicing more efficient.

You all know that practicing slowly is incredibly valuable.

For example, I’m working on this Liszt Sonata in B minor. There’s a section in there that goes quite fast. Practicing slowly can help you get each note absolutely secure. But sometimes, you’re working on all these different passages, and you wonder where you should focus your attention. Maybe you can already play most of it pretty well, but you don’t know where the trouble spots or potential trouble spots will be in a performance. During a performance, you might be a little bit nervous. Maybe your hands are a little sweaty. Maybe you’re playing on a piano that’s unfamiliar. Maybe you’re taking a tempo slightly faster than you realize because of the excitement of the moment.

Try to play your piece faster than usual and see how much of it you can get through securely.

Take a faster tempo, and wherever you can’t play up to that tempo, that’s where you focus your attention. See how much of it you can play accurately and cleanly, and then take it from there. This helps you figure out which parts are weaker than the rest. Then, once you find the areas that need attention, flip it and go back to that slow practice. Slow practice is one of the most valuable tools you can use in your daily work at the piano. Even with something you can already play up to tempo, going very, very slowly with the score, and using the metronome, and without the pedal, is one of the best ways to secure your piano playing. Then, as a test, take things fast. Take things too fast, so you can see which parts are weaker than the rest! This way, you can maximize the effectiveness of your practicing at the piano. Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about why you must slow down your counting on long notes. You might think that if you do that, it’s going to be out of rhythm. Well, it’s possible that if you take this to heart, you could overcompensate. But the reason why this is so imperative is that there is a natural tendency, when nothing is going on on the piano, to rush your counting.

Watch the video to see the demonstration!

I’m going to give you an example using the last movement of Schumann’s Kinderszenen: Scenes from Childhood: The Poet Speaks. There are these long notes. I’m going to play it with the correct rhythm, and then I’m going to show you the danger of what can happen if you don’t intentionally slow down your counting. If you were playing this and not really elongating the counting on the long notes, you could easily end up rushing the counting on the long notes.

You must feel like you’re elongating the counting.

If you don’t feel like you’re elongating the counting, you’re probably going to end up rushing. I hear it all the time. Not just with students, but even with professional pianists! Sometimes they lose the pulse on the long notes. So you must accentuate the length of the counting so that you can hold the long notes long enough. The difference it makes in the sheer poetry, apropos of this piece of music, is profound.

It’s important to choose the right tempo.

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you about the three essential elements of sight-reading. I know so many of you want to read better, and you’re wondering what the secret is. I’m going to tell you about three different skills that you must have working together in order to be successful at reading music.

Sight-reading is all about what you see, feel, and hear.

Naturally, there’s what you see in the score. You have to really see what you’re reading, which is why you can’t be looking down at your hands while you’re reading. Which leads us to the second thing: You must have a certain feel for the keyboard. So you’re seeing the music, you’re feeling the keys, and the last thing, which is the most important, is what you hear.

All three of these things work together as a system.

You can’t look at your hands. You can occasionally glance for a moment, but you have to keep your eyes on the score. As soon as you’re not looking at the score, you’re not reading anymore! So you have to keep your fingers moving on the keys. If it sounds wrong, you must adjust by feel. You have black keys and white keys, so you can feel where the correct keys are and make the adjustments. If it sounds wrong, go a little higher or lower. You might think that that’s imprecise, but anybody who’s a really good sight-reader knows that you have to make those kinds of adjustments when you’re reading something difficult. Even if you don’t play perfectly, you get the basic idea across.

You have to keep going.

If you are accompanying a soloist, they don’t want you to stop when you miss a note. That’s not going to do it for them. It doesn’t give the satisfaction of understanding what the piece is like with the piano part. So you must keep going and feel your way by listening, watching the score, and recreating what you see based upon what you feel and hear. The best way to do that is by playing with other musicians, because it forces you to keep going. You have to keep going. You must keep your eyes moving. You must keep your hands and fingers moving, and you must keep listening.

The way to develop your reading on the piano is by doing it!

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you why you must front-load your practice. What am I talking about here? Sometimes you sit down to practice the piano, and you have certain issues. You get it pretty good, and you go on to the next part. And you keep working through it in this manner. Well, let’s erase that whole idea. Instead, with the first issue you have, go to extraordinary lengths to resolve it!

Spend as much time as you can correcting issues early on.

Go as far as you possibly can with your corrections. This is great when you’re starting a new piece. Maybe there’s something early on in the piece that isn’t gelling. You might think you can just skip it for now and get to it later. Well, here’s the secret for you: It’s okay for you to spend an inordinate amount of time on small issues. It may feel like you’re never going to get to everything else, but what you learn from taking something to the nth degree early on in your practice will have tremendous benefits for the rest of the piece.

All pieces of music evolve from the motifs that are introduced early on.

These motifs develop throughout the piece. So if you don’t solve those issues early on, as you go on with the piece, the problems compound themselves. That’s why you should spend a tremendous amount of time early on resolving issues that you have. You want to really solidify things to the maximum degree. By doing this, later you will be able to go through vast amounts of music without having to spend nearly as much time. That’s what I mean by frontloading your practice.

Put the time in during the early part of your music and the early part of your practice to get things really refined.