Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how to find the weak points in your playing. You want your practice to be productive. You don’t want to use a shotgun approach, working on all the parts of your music equally. Some parts will already be in good shape while other parts might need work. But sometimes it’s hard to know which parts need work.

How do you isolate the parts of your music that are likely to fall apart?

Obviously, if something completely falls apart, it needs work. But suppose you play through a piece and everything is pretty good. You’ve done various types of practicing. You’ve gone through meticulously with the score. You’ve worked with a metronome. You’ve practiced without the pedal. You’ve played under tempo. Yet when you perform, sometimes things fall apart and it seems to be in random places. I have a tip for you: Play the music faster than your normal tempo! You’ll find that you can play perhaps 90% of the piece at a faster tempo. The parts you can’t play at that faster tempo are the weak sections. You can isolate those sections and work on them in innumerable ways. A great way is to find a tempo at which you can play them cleanly, accurately and comfortably, and play the sections with the metronome at progressively faster speeds.

It’s good to have a reserve of tempo in your playing.

When you’re playing a piece of music, knowing that you can play it a little bit faster and still hold it together is incredibly valuable for a couple of reasons. First of all, in the heat of the moment in a musical performance, a lot of times when you’re nervous, you don’t realize that your whole physiology speeds up. Your heart’s beating a little faster. You’re breathing a little faster. That’s from the extra energy you get in performance. And you may just take your music a little faster than you even realize. If there are parts that you’ve never played at that faster tempo, you could run into trouble. So play your music a little bit over tempo and see what happens.

Romantic period music has a certain amount of tempo freedom.

In some styles of music, you may use a certain amount of rubato, the give and take of the tempo, where you rush forward in certain places, then hold back to make up the time. This adds an element of excitement to your music. That’s totally appropriate for some styles of music. But maybe during a performance you decide to use rubato in a place you’ve never thought of using it before. If you’ve never played the piece faster, you can’t pull it off very well if you haven’t practiced that one little part of a phrase faster before. So play your music a little bit over tempo to prepare yourself to allow for some spontaneity in your performance.

Sometimes you can play a piece dramatically faster and get a whole different feel for the music!

Let’s say you’ve been playing a piece and you’ve always felt the quarter note as the beat. For example, in the first movement of the Mozart K 545, C major Sonata, you’re thinking in four. But if you play it faster you might feel the half note as the pulse and give a whole different rhythmic feel. So there are a lot of benefits to playing your music faster as an experiment. First of all, you’ll find the weak points in your playing. You can zero in on the parts you can’t play at that faster tempo. You also have more freedom in a romantic period piece where you can give a little nuance of tempo. And lastly, you might feel the pulse of music differently, a slower pulse at a faster tempo which can open up a different rhythm and feel, even if you don’t end up playing faster. There are many benefits to taking a faster tempo.

Experiment with your pieces!

See what happens when you play your music faster. You may find that some pieces work at a faster tempo. There are innumerable benefits to this. So try it out! Let me know how it works for you. Thanks so much for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about easing performance anxiety by avoiding negative self-talk. You believe what you say! I’ve seen this happen so many times with performers. It’s not just in music, it’s in everything in life. Whether it’s sports, interviews, public speaking, and more. You believe what you say in your head to yourself. So if you tell yourself you’re going to bomb a performance, it’s a self-fulfilling prophecy, because you believe what you’ve told yourself. You really have to be careful what you say in your head before and during a performance.

You have to envision a positive outcome.

Imagine yourself at a performance. Imagine the successful outcome in great detail. Live in that moment in your head. Close your eyes, breathe deeply and meditate on that moment. Then when you are at your performance, it feels familiar. You’ve already set yourself up for success. It’s so vitally important! This can work for anything from your piano lessons to job interviews. Imagine yourself having a positive experience. Keep that projection in your head. Once you start telling yourself, “I can do this. I feel good about this.” Then you’re going to bring about a better performance.

Once you start with negative self-talk it’s a spiral that’s really hard to get out of.

Be careful what you say to yourself! It will manifest itself either positively or negatively. It’s really important in musical performances and in life itself to have a positive outlook. I Hope this is helpful for you! Thanks so much for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to give you a really valuable tip for fingering: Always look back, never look forward. If you’re an advanced player, you know that doesn’t make any sense at all, because you have to know what’s coming in order to negotiate a good fingering. That is absolutely true. However, if you’re a student, it’s very different, because the fingering that’s indicated in the score is what you must follow. A good teacher will provide you with good fingering. You must always determine what finger to use by looking back to the last note that has a fingering marked. Put your hand in the position over those notes. Then, whatever finger is over the next note is the finger to use. Because if you look forward, you could run into trouble.

If you want to know what finger to use, always look back to the last printed fingering.

I have a Burgmuller study here called Innocence. It’s a lovely little piece. I want to show you something in the right hand after the second ending. You have your third finger on C, but you have a first finger on the very next C. So if you look ahead you might think you have to have your first finger on the first C. And then the same thing happens again. You have your third finger on E, and then you have another E after that which has the first finger marked. So instead of using the third finger, you may think you need to use your first finger on the first E since the E coming up has a first finger marked. You might think you should use the first finger because you’re going to need it later. But that is not the way fingerings work in music.

So indeed, you would play this passage with the first, second and third fingers, then change your third finger to your first finger on the same E, and then use your second finger on the F. Why? Because the last printed finger was the first finger on E, so you naturally use your second finger on F. You always look back to the last printed fingering to know what finger to use on the following notes. If you look forward, you’ll get fouled up because that’s not the way fingerings are followed in the score.

I hope this clarifies things for you!

If you’re figuring out a fingering because there’s no fingering written, you might want to get a sense of the whole passage to be able to execute a good fingering possibility. But if you’re a student, and you have an edited edition that’s fingered, and your teacher provides additional fingering solutions for you, you must always follow the fingering by looking back to see the last note that had a finger marked. Put that finger on that note and see what fingers are over the next notes instead of looking ahead to see what fingerings are coming. That won’t work. This is something that some of my students have asked about. I hope this is helpful for all of you! Thanks so much for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to www.LivingPianos.com, I’m Robert Estrin. The subject today is about getting the maximum benefit out of your practice time. That’s the way I like to work. I get a lot of people who are really gung ho to learn the piano. They’ll say, “I’ll work hours a day on scales and exercises. I just really want to get better.” But there is a point of diminishing returns with working on technique for technique’s sake. I always believe in working on music. Learning music will help you solve more technical problems than just focusing on technique, and you’ll get more benefit.

How can you maximize the effectiveness of working on technique?

If the primary time you spend daily on the piano involves technical exercises, including fundamentals like scales, arpeggios, octaves, and things of that nature, it doesn’t leave enough time for what’s really important, which is repertoire. You will grow more from learning music than you will from simply playing exercises. Ten minutes a day of really good scale and arpeggio work is a great warmup. You’ll get the maximum benefit with a minimum amount of time.

The secret is consistency.

If you only work once a week on scales and arpeggios, you’re not going to get much benefit. But if you spend a little time each day you will see improvement. Five or ten minutes a day is all you really need most of the time. There may be times you’re having an epiphany and you feel like you’re finally playing arpeggios well. In that case stay with it or you’ll end up with a hump to cross later on anyway. It’s not an absolute science that you spend X amount of time for maximum benefit. But generally speaking, minimize pure technical work.

Use your music as technical exercises.

When you have a part in your score that you can’t play well, figure it out using various practice techniques. You can turn your music into exercises! If you’re playing a Bach prelude, for example, like the Prelude in C Minor from book one of the Well-Tempered Clavier, it lends itself to exercises. It’s most like an exercise in itself. So how could you practice that? Slow practice with a metronome is invaluable. Use raised fingers, delineating every finger that’s down and every finger that’s up. That’s a great practice technique! Another technique is to use different phrasings. For example, staccato fingers. Or you can play one hand staccato and the other hand legato. You can benefit from this because any weakness will evidence itself in your playing. Or you could just do small snippets at a time. You could also play the music with various rhythms, such as dotted rhythms or you can play the music with different accents. There are countless ways you can turn music into exercises. This way you don’t have to resort to mindless exercises that don’t have the benefit of music you can play at the end of the line.

Musical etudes are your best source.

Whether it’s Chopin and Liszt etudes or Heller or Burgmuller studies, these etudes are richly rewarding music that can solve technical problems while offering you great music that you can play and enjoy. So that’s my recommendation! Utilize minimum time and enjoy maximum benefit for pure exercises. But spend most of your time with music and turn problem areas into exercises where necessary in order to improve your technique on the piano. Let me know how this works for you! Thanks so much for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how to achieve consistency in your piano playing. There are many aspects to this, such as, revisiting the score, which I’ve talked about in other videos, committing the piece to memory, practicing performing, and many other elements. All of these techniques give you solidity in your playing. But what I’m going to talk about today is something that transcends all of that!

Growing up, I played both piano and French horn.

I spent equal amounts of time practicing both instruments. I had the good fortune of connecting with a phenomenal French horn teacher by the name of Hugh Cowden. He specialized in low horn. He was a fourth horn player. Horn sections are like no other sections of the orchestra because there are four independent parts unlike string sections which typically all play the same parts in each section. The first and second horns form a duet, with the first horn playing the high part and the second horn playing the low part, generally. The third horn is another high horn part, and the fourth horn is another low horn part. When the section is playing together, the fourth horn anchors the whole section. It’s a glorious sound! Hugh Cowden played in the Boston Symphony, the Chicago Symphony, and the New York Philharmonic. It was such a joy working with him! He would come to my home and we would spend whole afternoons together. It was unbelievable!

The French horn is different from piano in almost every respect.

There’s much more physiology involved in tone production on the horn. On the piano, the tone is produced by hammers hitting strings which transfers the sound to the soundboard through bridges. On the French horn, the tone is produced by your breath passing through your lips. And these muscles tire out after a while. Our lessons would consist of going from one piece of music to the next, concertos, sonatas, etudes, and a bunch of orchestral excerpts. Sometimes in the course of a lesson, there would be some things that were giving me problems. So he would keep coming back to those things, trying to get me to overcome them in the course of the lesson. Then we would play duets together, or we would go into my father’s studio and play records of great horn players and comment on them. It was an amazing experience working with him!

I would get to a certain point in the lesson where my chops were shot.

I would get to the point where I couldn’t play anymore. This happens on French horn when you get to a certain point and your lips just can’t do it anymore. All you can do is let them recover and pick up the horn the next day. But Hugh Cowden wouldn’t let me do that. He would have me work physically harder by supporting the air even more than I thought was possible. At first, the sound seemed fuzzy, but I would just use so much energy and make the attacks really strong, using the air and the breath and everything I knew about French horn playing multiplied by 10! And at the end of one of those four-hour marathon lessons, when I thought I was done long ago, I could play on a high level again. How is this possible?

This is the secret to consistency!

When you feel down and out and your mind isn’t doing what it needs to do, you must rely upon what you know to be the truths of your instrument and double down on everything! Use that concentration. Make sure you’re sitting properly. Think about the music and the phrasing and get into the flow of playing. Make yourself do the things you know work. Even when your mind is tired and you think you can’t do it, you can! You can overcome your natural limitations by just working harder, not just physically, but mentally reinforcing what works when you absolutely need it most. You will be shocked that such a thing is possible. And if it’s possible with the French horn, when the blood no longer wants to return to the lips, and the muscles are so fatigued that they won’t vibrate when you play the way you normally play, then it’s absolutely possible on the piano. Because when you’re fatigued on the piano, your fingers tend to regenerate rather quickly. It’s not like you play to a certain point and you just can’t play anymore. At least I have never suffered from that situation on the piano. Usually if I’m tired, I’ll wait a few minutes, and physically, things come back again.

On the piano it’s really more of a mental challenge than a physical challenge for most people.

I want you to try this technique the next time you think you’ve reached the end of what you can do. Of course, revisit the score and practice slowly going through the score carefully. But in a performance situation, you can muster up the energy if you rely upon doubling down upon the things you know work. Go for it in an extreme way! Reaffirm your concentration and see what’s possible for you when you think you’ve lost all consistency in your playing. Let me know how this works for you! Thanks so much for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about why you must revisit the score of your music periodically. It’s so important! For example, religious scholars go back to the Gospel again and again because they’re living a certain type of life. They want to reinforce the Scripture. Well, as a musician, you must do the same thing with your music. It’s vital for keeping things fresh and learning your music on a deeper level.

Don’t play telephone with your music.

Think about the game telephone. You have a message you whisper into the ear of the person next to you. They whisper it into the ear of the person next to them, and so on. At the end of the line, you have a whole different message! If you play your piece again and again, eventually you could end up with a whole different piece if you never go back to the original. Little things will change. Not only that, but if you’re playing a sophisticated piece of music, there are so many nuances of phrasing and expression, where a slur ends, where a crescendo starts, etc. It’s really tough just to learn the notes, the rhythm, and the fingering. It’s far more difficult to understand every aspect of phrasing and expression. Even if you’ve really studied a piece, you can always learn more.

Over time your memory degrades.

Here’s another example. This may be tough for young people to relate to because we now have perfect digital reproductions of everything. But not that long ago we used tape for recording. I grew up with tape. I owned recording studios that were tape-based. If you had a cassette tape or a reel-to-reel tape and you made a copy, the copy was always just not quite as good as the original. It wasn’t replicating it, the way digital technology does. It was actually just rerecording it. And if you recorded a tape of a tape of a tape, it was noisy. It was distorted. You could hear fluctuations of pitch, referred to as wow and flutter. You would end up with all sorts of artifacts that you didn’t notice in the original recording. The only way to get a really first-class recording was to go back to the original master tapes. That’s why you’ll see remastered versions of CDs and other digital recordings. What does that mean?

The way tapes and records were made, is from a master multitrack tape. That master tape would be mixed down to stereo tape. Then a copy of that stereo tape would be sent to the record company. So it’s already third generation by the time the record company has it. When they remaster an album, they can go back to the original multitrack tape and mix it down to 2-track digital. This gets the quality of sitting in the studio and listening to the original multitrack master tape, which is so much cleaner than what you ended up with on records and tapes years ago.

Refer Back To The Source!

The score is your musical gospel! It’s the original message. It’s the master tape. By revisiting the score again and again, no matter how many times you studied a piece, you will always learn more. That’s the message for today. I hope this is helpful for you! Thanks so much for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to LivingPianos.com, I’m Robert Estrin. Today the subject is about talent versus musical intelligence. As a teacher, I get to see the vast range of both capabilities and weaknesses in students. Piano playing in particular encompasses so many different aspects of physiology and mental acuity. Because of that, you see drastically different levels of abilities in the various aspects of playing music. There’s rhythm, pitch, hand coordination, how well somebody can translate what they’re seeing on the page to the keyboard, long-term memory, short-term memory, etc. There are so many things involved. Now, some of them I would say represent sheer talent for the instrument. But a lot of it comes down to musical intelligence.

What is musical talent?

When I think of talent, I think of somebody who has a natural ability to evoke emotions in their music to create a unique musical statement on the highest level. That’s what talent is. There are so many gifted performers! So why should you listen to performer X when there are performers A through Z? What separates one accomplished performer from another one? To me, it comes down to talent. Somebody who really has a gift for expressing something unique and has something to say with their music that you haven’t heard before. But somebody might have that gift and not have a whole lot of musical intelligence. How does that manifest itself? I’ve seen pianists who are really gifted. They have fire in their playing, but they get lost in the performance. They can’t hold it together mentally. It’s very sad because while they have the raw talent for music, they might not have the intelligence to be able to really pull it off in performance consistently.

Now on the flip side, sometimes there are people who are unbelievably intelligent with music. They can learn music and play on a high level, but It’s really bland and ordinary. They play like everyone else. Interestingly, those people can be spoon fed interpretive ideas. You can actually work with a person who has musical intelligence. By working with them, you can impart the nuances of phrasing and structure. It’s unbelievable! These people can perform on such a high level that it’s hard to even make the distinction. Are they talented or not? You can’t tell. There are contest-winning performers who are nurtured with absolutely world-class pianists. They can reach a level of musicality and originality in their playing that maybe they don’t possess naturally.

There’s a certain amount that can be developed, but there’s a certain amount that’s just inborn.

You can always improve and raise the level of inventiveness and originality by working with students to get them to experiment and find their own true voice. But somebody who has that natural ability can reach heights that other people will never reach no matter how much training and practice they have. Now this isn’t necessarily a bad thing. In fact, there are people who enjoy listening to performances that are very straightforward and faithful to the score. Sometimes I hear a performance that’s so refined I could take a dictation and end up with the exact score that the composer wrote! There’s nothing wrong with that. There are all types of performances that are valid, from the super talented original thinkers who emote so much in their playing, to the ones who are articulate and accurate to a great extent. There’s room for all of this! We all have elements of both in our playing. There’s no absolutes in this world. So feel good about what you bring to the table with your capabilities, talent as well as musical intelligence.

Thanks so much for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to LivingPianos.com, I’m Robert Estrin. Today I have an interesting question for you. Which are better, wood pianos or black ebony pianos? When you go to the symphony, onstage you see that classic black piano. You generally think of a piano as being black. But sometimes you see exotic woods, like rosewood. You see carved pianos, and they cost substantially more sometimes. But is there a benefit to wood pianos versus black pianos? That’s an interesting question with many ramifications.

Structurally and sonically, there is absolutely no difference between wood and ebony pianos.

There are many elements of the woods used in pianos that do make a tremendous difference in the sound quality. But pianos have had veneers on them for well over 100 years. So whatever the veneer is on top, whether it has a natural wood finish or a sprayed lacquer, whether it’s high gloss or satin, makes no difference in the sound of the piano. However, the wood underneath that finish, even on the rim of the piano can make a big difference in the tone of the piano. Many Asian production pianos utilize soft luan mahogany which is indigenous to the region. Luan rims are easier to bend than the hardwoods used in American and German pianos. So why do they do it? Since the soundboard is embedded into the rim, having a hardwood in the rim actually becomes part of the resonating chamber. So indeed the wood that a piano is made from does make a difference in the sound, but the finish does not. However, when piano companies are dealing with exotic woods, and intricate carved cases, they may naturally spend more time refining the instrument to the highest level since it provides a showcase for their work.

The wood of the soundboard has much more significance.

Almost all pianos today have spruce soundboards, but there are many different quality levels of spruce. Some soundboards are laminated woods with a cross grain. This kind of defeats the purpose of the fine spruce because generally the cement between those layers is going to inhibit the sound. But a laminated soundboard is far stronger, will last longer and is impervious to cracks, just like plywood is stronger than regular hardwood. So there are many things to consider about the different woods of a piano. For example, if you had the opportunity to have a wood piano or a black piano, and you really didn’t care one way or the other, black pianos tend to be more popular. So if you ever were to sell that piano, you might have an easier time selling a black piano than a wood piano.

There are people who love wood pianos and are willing to pay a premium.

With new pianos, wood finishes tend to cost a little more because they have to have matching veneers instead of essentially just spraying over with black paint. However, if you have a really beautiful wood piano, even though it might be harder to connect with someone who’s looking for that particular shade of wood, that person may be willing to pay a premium to get it. So there’s a lot to weigh here in choosing the finish of a piano. Ultimately you should get what you like because chances are, you’re not buying a piano to sell it. You’re buying a piano to enjoy it!

Choose the finish that you like best!

Get what you like! If you ever need to sell your piano, you want to have a long enough timeline so that you’re not under the gun. Because it’s not always easy to connect with someone looking for the piano you happen to have. Anything that’s relatively expensive, you want to have time to list it and get it into shape. But in terms of the sound and the playing, there is absolutely no difference in the finish of your piano!

Thanks so much for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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I’m Robert Estrin, and this is LivingPianos.com. The subject today is about how to utilize terraced dynamics. What are terraced dynamics, and why do they even exist? Well, this is a great question. I’m going to show you a couple of examples of how you can use terraced dynamics to great effect in your music!

Terraced dynamics are usually associated with Baroque music.

The piano has infinite expression from soft to loud. The keyboard instruments that were most popular during the Baroque era, Bach, Handel, Telemann, Scarlatti, et cetera, were the harpsichord, the clavichord, the virginal, and the pipe organ. These instruments, unlike the piano, did not respond to the speed at which the keys were depressed or the force of pressing the keys. But many of these instruments had stops, particularly organs and some harpsichords, where you could engage different series of pipes or, with the harpsichord, different sets of strings. The only way to achieve a crescendo, getting louder gradually, was by opening up more pipes or allowing more strings to get plucked on a harpsichord. Because a crescendo was impossible on those instruments. For example, listen to Bach’s Two part Invention in C Major. You have a statement of the initial subject that repeats again and again. You’ll notice how it gets louder each time it is played. This is an example of terraced dynamics. You get the sense of a crescendo even though it’s stepped, like a terrace, with different levels of dynamics. It’s so effective in music of the Baroque era, because the music was conceived that way. Bach couldn’t have thought of an actual crescendo in this music because the instruments he was playing didn’t have that capability.

Are terraced dynamics ever effective in other styles of music?

The answer is yes! For example, the Kuhlau Sonatina Opus 55, Number 1. This is a delightful little piece, incidentally. There is a section where the initial subject returns in D minor. Then you have a sequence that I love to play with terraced dynamics. It is very effective! So terraced dynamics are not just for Baroque music. Anytime you have a repeated pattern, it’s usually going somewhere musically, either up or down. You can give it direction and vitality with terraced dynamics. It articulates the actual architecture of the music because it’s written sequentially. To play it sequentially with terraced dynamics, rather than just a crescendo or decrescendo, is much more appropriate. This is true not just with Baroque music where it’s obvious because of the nature of the instruments that the music was written for, but even in later styles of music. It’s a great thing to try out! Any place in your score where you have repeated patterns, experiment with terraced dynamics and see what it does for your music! Let me know how it works for you!

Thanks so much 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

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