Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com, I’m Robert Estrin. Have you ever noticed how rarely performers sneeze during a performance? Whether it’s a solo piano recital or a lengthy musical piece, sneezes seem almost non-existent. But why is this the case?

The Power of Concentration

One reason might be the intense concentration that performers experience. When musicians are deeply focused on their performance, their awareness of physical sensations, including the urge to sneeze, seems to diminish. This level of focus can be so absorbing that it overrides many of their bodily functions.

A Fascinating Story from the Stage

To illustrate this point, let me share an intriguing anecdote about a former student of mine. While he was still a teenager, he gave a remarkable performance at a recital. In the middle of a particularly demanding Beethoven piece, something unexpected happened—he started to experience some nasal congestion.

As he continued to play, his nose began to run. Despite this discomfort, he had no choice but to continue performing. His dedication was evident as he played on with remarkable skill and composure, even though the long string from his nose had to be devastating for him!

Limits of Control

This experience highlights an interesting fact: even with immense concentration, some bodily responses are beyond our control. Though sneezing is a natural reflex, the ability to control it completely during high-stress situations like performances remains limited.

Have You Ever Seen a Performer Sneeze?

It’s worth asking: Have you ever witnessed a pianist or any instrumentalist sneeze while performing? It’s a rare occurrence, and for wind players, it could be quite problematic. Nonetheless, it underscores the remarkable focus and discipline required of performers.

Welcome to LivingPianos.com, I’m Robert Estrin. Today, we’re diving into the intriguing world of piano techniques. Over time, various philosophies and methods have emerged, each highlighting unique aspects of piano playing. Let’s explore some of the most renowned schools of piano technique and their distinctive characteristics.

The Russian School

The Russian school of piano technique is renowned for its emphasis on weight transfer, relaxed arm movements, and natural hand positions. This approach encourages pianists to utilize their entire arm, resulting in a rich, powerful tone. Esteemed pianists like Sergei Rachmaninoff, Vladimir Horowitz, and Sviatoslav Richter exemplify the strength and expressiveness that this technique can achieve. My own background is influenced by this tradition, as my father, Morton Estrin, studied with Madame Vera Press, a student of Russian technique. This foundation has greatly shaped my teaching approach.

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s question is: What can you do with a bad piano? Having a piano that doesn’t meet your expectations can be frustrating, whether you want to restore it to its former glory or simply need to find a new home for it. This article explores two primary scenarios you might face with a less-than-ideal piano and provides practical advice for each.

Restoring a Piano to a Higher Quality

If you’re hoping to transform your current piano into a better instrument, there are a few steps you can take. First, consider consulting a piano technician. An experienced technician can assess whether your piano, which might have been a high-quality instrument in its prime, can be restored to a better state with some servicing.

However, if your piano is significantly deteriorated and requires major repairs, be prepared for potential challenges. Restoration can be costly and may not always yield predictable results. The end product might feel and sound quite different from your original piano, and the costs involved could exceed the value of the instrument.

An alternative approach is to sell or trade in your piano. Many piano dealers, such as Living Pianos, accept trades and can help you find a replacement that better suits your needs. This option allows you to know exactly what you’re getting with your new piano.

Dealing with an Unwanted Piano

If you have a piano that you no longer wish to keep, perhaps because it’s been neglected or simply takes up space, there are several options to consider:

1. Selling the Piano: The possibility of selling the piano depends largely on its condition. If it doesn’t look or sound good, finding a buyer might be difficult unless it’s a high-end brand like Steinway or another premium brand with restoration potential. For a lower-end piano, platforms like Facebook Marketplace, Craigslist, and eBay are good starting points.

Welcome to LivingPianos.com, I’m Robert Estrin. Today we’re diving into an exciting comparison of two renowned 9-foot concert grand pianos: the Steinway and the Baldwin. We have some exceptional instruments here for you to explore, and I’m eager to hear your thoughts in the comments section! If you want to hear a comparison between vintage and modern Steinway concert grands, click here!

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to address an important and thought-provoking viewer question regarding young musical prodigies. This inquiry delves into the future of these exceptionally talented children and the challenges they may face as they grow older. Let’s explore this topic in depth.

The Dilemma of Child Prodigies

Recently, a viewer asked about the long-term outcomes for children who display extraordinary musical talent at a young age. Specifically, they questioned what happens to these prodigies when they do not pursue a career as professional musicians. Their concern stemmed from a personal experience where a talented young musician, once on track to join an orchestra, abandoned music entirely. This raises a poignant question: what becomes of these highly skilled children who may not continue in the field?

The Harsh Reality of a Musical Career

The music world is highly competitive. Many musicians graduate from prestigious conservatories worldwide, all aspiring to secure a spot as a professional performer. Unfortunately, the number of available positions does not match the number of qualified candidates. A study of Juilliard graduates found that 80% were not pursuing a career in music a decade after graduation. This underscores the intense challenge of sustaining a career solely as a performer. However, not all is lost.

Alternative Paths in Music

Many musicians find creative ways to incorporate their skills into alternative career paths. This might include teaching, accompanying, composing for various media, or performing in different settings. The key is adaptability and innovation. Some may even explore new forms of artistic expression, combining music with technology, multimedia, or other art forms to create unique experiences.

The Impact of Early Training

The experience of child prodigies can vary greatly. Some may thrive and continue to pursue music passionately throughout their lives, while others may struggle with the pressures and expectations placed upon them. For instance, my former teacher, Ruth Slenczynska, a renowned child prodigy, initially stepped away from music due to a challenging childhood before eventually returning to her career. This highlights how personal experiences and pressures can influence one’s relationship with music.

Embracing Individual Journeys

Ultimately, whether a child prodigy continues in music or chooses a different path is a personal decision. A nurturing environment can foster a lifelong passion for music, but even with such support, individuals must decide for themselves how they wish to incorporate their musical talent into their lives.

Feel free to share your own experiences or thoughts on this topic in the comments here at LivingPianos.com and on YouTube! It’s a fascinating subject with many layers to explore. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. Thanks for joining me!

Welcome to LivingPianos.com, I’m Robert Estrin. The question today is: What is better, bright or warm voicing? Choosing between a warm or bright voicing for your piano can be a complex decision, but understanding what each term means can help you make the right choice for your needs.

What is Piano Voicing?

Voicing refers to the tone quality of a piano, which is influenced primarily by the hardness or softness of the hammers. Each of the 88 hammers in a piano must be individually adjusted to achieve the desired tone. This process involves not only adjusting the hardness of the hammers but also shaping them precisely and aligning them correctly. Regulation also plays a role in how the piano’s tone is perceived.

Factors Affecting Piano Voicing

Room Acoustics

The acoustics of the room where the piano is placed significantly impact its tone. In a small, acoustically bright room, a piano with a bright tone might sound harsh and overwhelming. In such cases, a warmer voicing can help mitigate this harshness. Conversely, in a larger space where the sound needs to travel farther, a brighter tone might be more suitable.

Musical Style

Your preferred musical style can also influence your choice. For example, a pianist who plays rock music might prefer a brighter tone for its cutting effect, while someone who plays new age music might lean towards a warmer, mellower sound to create soothing, sonorous qualities.

Playing Style and Power

The power and technique of the player are crucial considerations. A powerful player might prefer a piano with a broader dynamic range and warmer voicing to avoid a harsh sound, whereas a player with less strength might benefit from a brighter tone that requires less effort to produce sound.

Piano Types and Voicing

Different types of pianos naturally lend themselves to varying tonal qualities. For instance, American pianos like Steinway and Mason & Hamlin are often noted for their warmer tone compared to European pianos, which may have a brighter sound. However, every piano can be voiced to suit either preference, so the choice ultimately depends on personal taste and the specific use of the piano.

The More a Piano Is Played, the Brighter It Gets

Pianos tend to become brighter over time with regular use. The felt on the hammers compresses and hardens, leading to a brighter tone. To counteract this, it’s beneficial to start with a piano voiced on the warmer side. This allows for a more controlled and pleasant sound as the piano naturally brightens with use.

Seeking Professional Voicing

Voicing is a specialized skill. It’s essential to work with a skilled technician who can finely adjust the voicing to meet your specific needs. Look for a technician with experience in concert-level work, as they will have the expertise necessary to achieve the best results. Voicing needs to be even from key to key, which is a real challenge to achieve.

Personalized Voicing

Many pianos can be voiced with different tonal characteristics in various sections. For example, you might prefer a warmer middle register with brighter treble and bass notes. This customization can enhance the overall sound and suit your personal preferences. I have a personal story to share about my father, Morton Estrin. He was an incredibly powerful pianist, but he had remarkable control over his pianissimo playing as well. He truly loved exploring the full range of the piano. I remember visiting the Baldwin showroom in New York City with him, where, as a Baldwin artist, he would head to the back room filled with concert grands to test them for his New York recitals and recordings. He always sought out the piano with the warmest tone, knowing it would allow him to express himself fully without the risk of a harsh sound. His preference for a warmer voicing was because it enabled him to produce beautiful, delicate tones and, when played with more power, to reveal a range of rich, varied sounds. To contrast that, Vladimir Horowitz’s piano was known for its exceptional brightness. Horowitz’s control over this brightness was remarkable. His piano had a shallower key depth, allowing him to achieve a wide range of dynamics—from subtle nuances to powerful crescendos—with ease. His technical mastery and the unique characteristics of his piano created a dynamic and fiery performance.

Conclusion

Welcome to LivingPianos.com, I’m Robert Estrin. Today we have a fascinating comparison for you. We’ll be comparing a vintage Steinway concert grand to a 2000’s model to highlight the differences between them. Our demonstration will feature two excerpts from Chopin Nocturnes to showcase each instrument’s unique qualities.

Modern Steinway Concert Grand

First, we’ll listen to a 2004 Steinway concert grand, which remains in its original, barely used condition. We’ll hear an excerpt from Chopin’s F-sharp Nocturne. Pay attention to the tonal characteristics and how they resonate with you. Watch the video to hear these two wonderful instruments!

Vintage Steinway Concert Grand

Next, we’ll turn to a 1916 Steinway concert grand, which has been meticulously rebuilt and restored with its original soundboard. We’ll hear an excerpt from Chopin’s B-flat minor Nocturne on this vintage instrument. Listen closely to the tonal differences and see which piano appeals to you more.

The Distinctive Nature of Steinway Pianos

It’s worth noting that every Steinway concert grand is unique. Each piano is hand-built, and there are variations in the woods used—since no two trees are identical—contribute to the distinct sound of each instrument. The individual craftsmanship results in noticeable differences between pianos. There is also a general charactaristic of sound to older compared to newer Steinways. What do you think about these pianos? Do you hear any distinct differences between vintage and modern Steinways? Let us know in the comments here at LivingPianos.com and on YouTube! I’m Robert Estrin here at LivingPianos.com, your online piano store. Thanks for joining me!

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you the top 5 myths about piano teaching.

Myth 1: Great Teachers Don’t Take Beginners

It’s a common belief that top-tier piano teachers only work with advanced students. While it’s true that many high-level instructors at conservatories focus on refining the skills of already proficient players, this doesn’t mean they don’t teach beginners. In fact, teaching beginners can be immensely rewarding and crucial for a student’s development. Many skilled teachers are adept at guiding students from their first notes to advanced techniques. The foundation laid by a dedicated beginner teacher can pave the way for future mastery.

Myth 2: Every Other Week Lessons Are Ineffective

I used to think that having piano lessons every other week could hinder progress due to a lack of consistency. However, my experience teaching online has shown that bi-weekly lessons can be highly effective. Students who are committed and manage their practice well can thrive with this schedule. The key is ensuring that students are motivated and make the most of the time between lessons.

Myth 3: Great Teachers Are Strict

Many parents seek out strict teachers, believing that rigid rules and discipline will lead to better outcomes. While some students may respond well to a strict approach, effective teaching generally involves understanding and communication. It’s important to tailor your approach to each student’s needs and personality. A successful teacher builds a relationship with their student to address any obstacles and support their growth.

Myth 4: Great Teachers Have A Well-Formed Lesson Plan

Another misconception is that exceptional teachers adhere to a fixed lesson plan. While it’s essential for teachers to have a structured approach that includes progressive repertoire, technique, and theory, flexibility is crucial. Each student is unique, and teaching should be adapted to fit their individual needs and goals. A good teacher listens to their students and adjusts their methods accordingly, rather than applying a one-size-fits-all plan.

Myth 5: Students Must Always Follow a Prescribed Path

Finally, the idea that there is a single correct path for all piano students is misleading. Effective teaching involves collaboration between teacher and student. Teachers must be adaptable and responsive, creating a learning experience that aligns with each student’s personal journey. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. Thanks for joining me!

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s question is: How do you count 6/8 time? Time signatures are crucial for understanding rhythm and structure in music. Whether you are working with 6/8, 9/8, 12/8, or even 16/8 time, each one provides unique rhythmic possibilities. Let’s delve into how these time signatures function and how to count them effectively.

The Basics of 6/8 Time

In 6/8 time, there are six beats per measure, and each eighth note receives one beat. To count 6/8 time, you simply count 1, 2, 3, 4, 5, 6. You can see an example of this in the video. However, as the tempo increases, counting each beat individually can become cumbersome. At faster speeds, it often helps to think in two groups of three eighth notes, where each measure is essentially divided into two dotted quarter notes. This simplifies the counting process:

Comparing 6/8 and 3/4 Time

Both 6/8 and 3/4 time signatures have six eighth notes per measure, but their rhythmic feel is different. In 3/4 time, there are three beats per measure, and each quarter note gets one beat. In contrast, 6/8 time can be divided into two beats per measure, with each beat subdivided into three eighth notes. This creates a distinct rhythmic feel compared to 3/4 time, which is often used in waltzes and other dances.

Advanced Time Signatures: 12/16

In 12/16 there are 12 beats per measure with the sixteenth note getting one beat. This time signature can be particularly challenging to count, especially at faster tempos. When dealing with faster tempos, grouping into four dotted eighth notes per measure can be more manageable.

The Importance of Subdivisions

In time signatures where the bottom number is 8 or 16 and the top number is 6, 9, or 12, each beat is subdivided into groups of three. For instance, in 6/8 time, each measure consists of two dotted quarter notes, each subdivided into three eighth notes. So each group of three notes fits into one dotted quarter note. Understanding these subdivisions is crucial for accurate rhythmic interpretation and performance.

Double-check your time signatures!

When working with different time signatures, always consider how the measure is divided and how the beats are subdivided. This approach will enhance your ability to count and play music accurately. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. Thanks for joining me!