Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com, I’m Robert Estrin. Today we’re going to discuss how to achieve speed and lightness in your piano playing. These two things are related. It’s simple physics really. Moving a great deal of mass takes more work than moving a smaller amount of mass. So minimizing motion in your fast playing is really the secret. I’ve talked about this with finger work, so today the focus is going to be on the wrists. The wrists are incredibly important on the piano for so many things that the fingers just can’t do because they don’t have enough power. First I’m going to give a little refresher on how this applies to finger work. Then I’m going to show you wrist technique and how minimizing motion gives you more speed and lightness with the wrists as well.

Minimize motion of the fingers when playing fast.

A piano melody, even one that is quiet, still has to project. It takes a certain amount of arm weight supported by the fingers to achieve this. This is analogous to the breath of a wind instrument or the bow of a violin. You can get a nice warm melody that projects and creates a fluid line by utilizing the fingers and the arm weight. But you can’t use that much finger motion when you want to play at a much faster tempo. You have to stay closer to the keys. Your fingers need to be close to the keys and rounded, so there’s a minimum amount of motion necessary. It makes it much easier to play fast and light.

The wrists are necessary for articulating staccatos, phrasing, accents, and chord technique.

For an example, I’m choosing a piece that I’ve taught countless times, the Ballade by Burgmuller. Students often play the staccatos with their arms, which creates a ponderous sound because the arms are so big and heavy. It’s better to utilize the wrists instead of the arms. However, trying to get the speed faster with that much motion can be incredibly difficult. But by staying closer to the keys you can play faster and lighter. When you want speed, stay closer to the keys in your finger work and use less wrist motion. Certainly don’t use the arms! The arms have a real limit of speed. Playing fast staccatos with the arms is all but impossible. But the wrists can go very fast. The wrists have much less mass to move compared with the arms, so already that helps. To get even more speed, agility and lightness in quick playing that is not just finger work, stay closer to the keys and have a minimal amount of motion. Then you’ll be able to go much faster!

Try this technique on whatever music you’re playing!

If you’re playing rapid finger work and you find that you’ve hit a brick wall, try lightening up and staying closer to the keys. In chord technique and staccatos, use the wrists, not the arms because they are much faster and more agile. And as you get quicker, stay closer to the keys and use less motion. That’s the tip for today! I hope this is helpful for you! Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to LivingPianos.com, I’m Robert Estrin. Today we’re going to discuss the three worst piano practice habits. These might be things that you do in your piano practice. Maybe you’re scared I’m going to bring something up that you do! Maybe you’re not aware of these destructive habits that are part of your practice routine. But it’s better to find out now than to continue on the wrong path.

1. Hesitating before a tricky passage

Hesitation is a habit that I constantly work with students to eradicate. It’s such a bad habit! You get to a difficult part and you can’t quite get it, so you hesitate just for a moment, then you get it and go on. This is a very bad habit because it ingrains stopping into your playing. The more you do it, the more you will continue to do it. It’s self regenerating. So how do you break that habit? We’re going to get to that, but first I’m just going to list the three habits so you can see how they apply to you.

2. Starting over from the beginning after making a mistake

The second bad habit is, when you make a mistake you get frustrated and you go back to the beginning. I’ve talked about this many times before. This is such a destructive habit. In a performance, if you find yourself having difficulty, what are you going to do? You can’t just go back to the beginning. The audience doesn’t want to listen to all of that again just so you can get past that point.

3. Changing speeds in your performance

Maybe there are some parts of a piece that you can play really well, so you play them at a nice fast tempo. Then you get to the parts that are a little harder and you slow down to accommodate them. Once again, you lose the whole flow of the music. You might think that to play everything slowly is tedious for the audience, so you might as well play fast where you can. But that doesn’t make for a fluid performance.

What can you do in your practice to eradicate these bad habits?

1. Hesitating before a tricky passage: You’re going along and you pause for just a moment, and then you go on. This is incredibly disturbing to the audience. Maybe they are tapping along to the beat and then suddenly it hesitates. It’s off-putting. With something that’s lyrical, anytime there’s a hesitation it just doesn’t feel right. I’m going to tell you what you can do. First of all, make sure you’re choosing the right tempo so you can play through the piece without hesitation. But suppose that just doesn’t cut it. Suppose you’d have to play the piece at half the speed just to avoid a couple of hesitations. That seems like a brutal solution. Indeed there are more effective ways of dealing with hesitations, unless you’re hesitating every bar, in which case you obviously need to choose a much slower tempo. But if it’s just a few key places where you are hesitating, and you can’t quite eradicate it, I have a solution for you.

When you are practicing, get in the habit of stopping whenever there’s a hesitation. Stop immediately and find your place in the score. Find an appropriate place in the score just before that hesitation where you can start to get past the point of hesitation. You might have to start slowly and increase the speed. Maybe even do metronome speeds if you can’t quite get through the hesitation by playing it several times. Then after you’ve played through the trouble section several times in a row perfectly at a comfortable tempo, go back to the beginning of the piece, or the beginning of the section to pass that hesitation.

Interestingly, you may find that even though you can play it many times in a row perfectly starting at the previous phrase before the hesitation, once you go back further, you may still hesitate there. So you may have to go back a little bit further to get it fluid. Then go back to the beginning of the section or the beginning of the movement to finally eradicate that hesitation. You can work all your key hesitations out that way. I sometimes refer to this as the band-aid approach of practicing. It can be very effective, because if you just have three or four places in an entire piece where you’re hesitating, to take the whole piece painfully slowly will feel quite tedious. And it’s not the most productive way to solve the problem. So hopefully this solution works for you!

2. Starting over from the beginning after making a mistake: It’s so tempting when something goes wrong to just start over and try again. Well, the problem with this is if you get in the habit of doing that in your practice, when you get out to perform you’re going to do the same thing. More than that, it doesn’t solve the underlying weakness in your playing. So what you must do is find exactly where you had the problem, and study the score to figure out the solution. Then, much like I described before in avoiding hesitation, start just before the point at which you had the problem, pass that point several times, increase the speed, and use the metronome if necessary. Sounds familiar, doesn’t it? It’s a very valuable technique. You may have to go back a little bit further to finally be able to start from the beginning and pass that point without starting over. So the key here is to reference the score and nail down the correction. Be very deliberate with this. Find the specific correction so that you don’t just play on automatic pilot with your tactile memory. You don’t want to rely upon that because obviously, whatever made you miss it that time, will undoubtedly happen again. So you want to really focus on the correction. A lot of people want to know what they did wrong, but that’s of no value. Find the correction! Whatever you focus on is going to be apparent in your playing. If you’re focused on the mistake, you’re going to make the mistake. Focus on the correction and forget the mistake. This is a life lesson too!

3. Changing speeds in your performance: I have a student who’s extremely talented. He likes to play everything really fast and it’s pretty dazzling. He hasn’t been playing very long, and I’m constantly impressed by him. But being able to get through an entire piece or even an entire movement at the speed at which he starts is oftentimes all but impossible. So going faster and slower really isn’t the answer.

Here again, you want to focus on the parts you can’t play up to speed. The answer here is to work with a metronome. Once you get to the part you can’t play up to speed, find a speed you can handle and set your metronome to it. Then start from the beginning and play the whole selection at that speed. If you really want to play a faster tempo, zero in on the parts you can’t play faster and work with progressive metronome speeds and other practicing techniques in order to get them up to speed. Then you will be able to play everything at the tempo you want. But starting off at a tempo faster than you can play the difficult sections won’t work.

So these are three tips for you! You’ve probably noticed there are similarities in the solutions. Focusing in on the correction, going back, speeding things up, working with a metronome, going back a little bit further, then going back to the beginning. These are tremendous practice techniques that come into play in solving these common problems in piano practice. If you can break these bad habits, I promise you, you’re going to take your playing to a higher level! You’ll really have security, and you’ll be able to play through a piece from the beginning to the end at one speed without stopping, without going back, without hesitating, and without changing speeds. I hope this is helpful for you! Thanks again for joining me! I’m 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 practicing slower will get you where you want to be faster. It seems counter-intuitive. I have seen so many students falling into a trap. Maybe you’ve had this experience. Or if you’re a teacher, you’ve seen students succumb to the false promise of solving problems by playing too quickly. They’re playing a piece and they miss something so they go back a little bit, and then they miss it again. Then they get more and more frustrated. They’ll say, “No, wait. I can get this. I know I can get this!” They just want to have the satisfaction of getting it right once. But they keep reinforcing the mistake because every time they play it again, they miss it. After many failed attempts they get it right, and they feel so good that they’ve finally gotten it. Of course, then they move on and do exactly the same thing with the next section. This is akin to someone who gets stuck in quicksand and they struggle to get out moving furiously. And what happens? They sink deeper and deeper! If they keep doing that long enough, they will end up so deep in the hole they cannot get out. And the same thing can happen in your practice if you’re not careful.

Practice the correction, not the mistake.

The more times you repeat a mistake, the harder it is to ever play it right again. And even if you manage to play it correctly after missing it again and again, you’ve still practiced the mistake far more than you’ve practiced the correction. So next time you play that section, the same thing is likely to happen again. How do you get out of this trap? I’ll answer that, but first let me tell you a story:

There are two men in the woods and they are chopping wood. They need the firewood. It’s very important they get this done before the day ends because it gets intensely cold at night. One of the men is chopping furiously. He sees his friend taking breaks, sitting there with his ax. Inside, he’s kind of peeved, but he knows they need to get this done because it’s going to get very cold and they will need the wood. He’s working as hard as he can, but he keeps seeing his friend taking breaks with his ax. He wants to say something, but he’s just too busy chopping the wood. At the end of the day he’s exhausted. He looks over, and much to his shock, his friend’s pile of wood is much larger than his own pile! He couldn’t imagine how this could have happened. So he says to his friend, “I don’t get it. All day long, I’ve been busy chopping wood while you took several breaks just sitting there with your ax, but somehow you chopped more wood than I did.” And his friend replied, “Yes, I like to sharpen my ax.”

Use a ‘sharp ax’ in your piano practice.

That’s a funny story. But the same principle applies to your piano practice. It’s not so important to keep charging forward as fast as you can. Be sure to reflect upon what you’re doing. Take that time. Slow yourself down. When you miss something, the temptation is to just charge forward and get it right. But if you do that, you’re missing a tremendous opportunity to find the correction, to find what you need to do differently, and to slow down so you can get it right the next time.

Once you miss something, it’s critical that you get it right the very next time.

Once you miss something, make the correction and play it perfectly at least three times in a row. Solidify the correction! Reinforce it using different practice techniques. Use progressive metronome speeds, or other techniques to cement the correction. Remember to slow down in your practice and you’ll end up with much more to show for your time. Just like the men in the woods. The man who sat there sharpening his ax had a better tool to be more productive. You want to take time in your practice. You don’t want to keep going back over mistakes hoping to get things right, because that’s not what practicing is about. It’s a matter of cementing corrections right from the get-go, to play accurately the very next time. And how do you do that? Study the score and slow down so you play perfectly the very next time. Then repeat it until you can play it correctly again and again consecutively.

So make the correction! You’ll find your practice will take on a productivity that you can’t even imagine if you haven’t used this technique before. Repeating mistakes in hopes of getting things right is like sinking into quicksand. It is anti-practicing. Repeating your mistake again and again, and thinking just because you got it right once, even though you missed it a bunch of times in a row is destructive work even though it may have been done with the best intentions. You know you can play it right because you played it right before. Why shouldn’t it come out right now? Well, that’s not an important question to ask yourself. Instead, focus on the correction. Get it right and get it done! You will be so much more productive in your practice and avoid frustration. Thanks again for joining me! I’m 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 how much you should practice the piano. I hear this question all the time. Of course, parents always want to know that for their kids, and adults also want to know if they are practicing enough. This is a great question, but it really isn’t the right question, believe it or not. The most important aspect is not how much you are practicing, but how often you practice. Why is this so important?

Practicing on a daily basis is essential to maximize your productivity and progress at the piano.

When you practice every day, you reinforce what you’ve done the day before on a daily basis. Skipping days is like taking one step forward and two steps backwards. It’s very difficult and can become frustrating. It makes you not even want to practice because you forget what you did and you feel like you’re not getting anywhere. And maybe that’s true. So it becomes self-defeating. Practice every day and you’ll see your progress growing.

Your mind has only a certain amount of time when it can work with maximum effectiveness.

When your mind is fresh, it can be so productive! You can get so much done. So you want to take advantage of that every day. You can even practice more than once in the course of a day. Maybe you have a little bit of time before you start working when you can review what you did the day before. By keeping it present in your head, right from the moment you sit down to practice, you’re ready to go! So that is the most important thing.

Setting the clock to practice a certain amount of time every day isn’t necessarily productive.

Why? Because what is practicing? Sure, there’s a certain amount of physiology involved. You want to develop strength and independence of your fingers and wrists for technique. But that’s not the most important aspect of piano practice. Practicing is a thought process. You can’t just do it by the clock. I’ve seen kids do this when their parents make them practice and they just sit there thinking about anything other than the piano! They’re thinking about what they’re going to do later when they run out the clock. So you must maximize the productivity of your practice. And that takes a thought process that you can’t always force. If you practice for 30 minutes and you’re really focused, you can accomplish far more than practicing for hours while daydreaming or just going through the motions. You want to digest a chunk at a time and really have something to show for your work at the end of practicing. So make sure you get to the piano every day. At least refresh what you did the day before and try to learn something new. Even if it’s just one tiny phrase. And on good days when you’re fresh and you’ve got time, do as much as you can! That way you will really grow tremendously rather than trying to have an arbitrary time limit that you are going to practice.

I hope this is helpful for you and for your teachers. This is a great recommendation, particularly for parents of students, because a lot of parents don’t know how hard it is to practice if you’re doing it correctly. So give your kids a break! Just make sure they do some work at the piano every day. That’s the most important thing. Thanks again for joining me! I’m 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 share with you two ways of solving technical problems on the piano. There are many different ways of solving technical problems. But I find that most pianists use these two methods, particularly the first method I’m going to show you. We’re going to use a very tiny excerpt from the first movement of the Mozart Sonata in C major K. 330. There’s a tricky passage in the development section early on. I’m going to play this for you on the accompanying video starting from the beginning of the development section through to this tricky passage. Then we’re going to go back and dissect what makes this passage difficult and how to solve it. This can translate to problems you have with finger work on almost anything you play. So this will be very valuable for you!

One of the primary ways of practicing is utilizing progressively faster metronome speeds.

I think all serious pianists practice this way. This is the lifeblood of serious piano practice. So if you’re having trouble with a passage, start at a speed in which you can play it with total security. Start very slow, 60 bpm, for example. Play through the passage as many times as it takes to be able to play fluidly and easily. You not only have to be able to play it reliably, you have to feel comfortable. You want to feel like you can do it without even thinking. You want to make it a total fluid line before ever raising the metronome at all. You have to be very critical at this stage because if you start increasing the speed before you have it absolutely perfect and repeatable, then you’re just going to be embedding those insecurities in your playing when you get it up to speed. This is the most important part. Take the time on the front end to really cement things and get it really comfortable before ever raising the metronome.

Take it one notch at a time.

Once the passage feels 100% solid at 60 bpm, raise the metronome speed by one notch. Why one notch? Because you can’t even feel it! That’s the secret. Gradually get the security in your playing, not just playing it perfectly, but feeling comfortable where you can repeat it again and again easily. If you have the patience to work through your music this way, you will be rewarded with a refinement and a security that is unparalleled. That’s the secret to developing security and confidence in your playing. I guarantee if you spend the 10 or 15 minutes it takes to get a passage up to speed this way you will be richly rewarded.

Work to the point of diminishing returns.

You’re going to get to a certain point where you can’t play any faster. You might have a breakthrough and get two or three more notches. Then you hit that brick wall again. At that point, it’s time to stop and move on to another part of the piece to work on. There’s always tomorrow. When you get to a point when you really can’t get it any faster without spending an inordinate amount of time, leave it for the next day. You’ll be surprised the next day, maybe when you first start, you’ll have to do it at a slower speed. Maybe not all the way back down to 60. Maybe the first day you’ll get it up to 80 or 84. And maybe the next day you start around 72 and you work it up the same way and get it up to 90 or 92. Each day you will get metronome speeds progressively faster, starting a little faster than you ended up the previous day. Find a speed where you can play it with that same security and confidence and move up from there. Practicing this way is really rewarding because you might think you’ll never be able to get it, but it will only take 10 or 15 minutes to do this.

Very few passages in the sonata are this difficult.

You don’t have to necessarily work the entire piece one notch at a time. Although if you have the patience to do that, you’ll have an incredibly refined performance. But certainly key sections will require this kind of focused attention. And of course you’ll have to work on larger sections than just tiny snippets. You have to put things into context! So after this, you might go back a few measures or even go back to the beginning of the section.

There’s another way of practicing that’s diametrically opposed to this.

This second method is completely different. It’s sometimes a tremendous time saver, preventing you from having to go through the tedium of metronome speeds. Sometimes you can pinpoint the exact place where you can’t play up to speed. Maybe you can play almost all the notes up to speed, except there are two or three places where you can’t get from one note to the next fast enough. If you can isolate those two or three places, you can get the whole passage without having to go through the entire thing methodically. Let me show you how this works.

Of course if there is a scale passage as in this excerpt, that helps. If you can play a G major scale in one octave as occurs here, you’ve got it, right? Well, it’s more complex than that because normally when you play the G major scale you’re going to end with fingers over the next keys of the scale. But here, you want to end with the fourth finger over A, and the second finger over the F-sharp to be ready for the next section. So you need to practice that. Then you can play the next small note group and get it up to speed. Then you put the two small sections together. You might not be able to put them together right away. You can try, but chances are, if you’ve never played the note groups together, you’re going to have trouble with that at first. So instead, play just up to the second note group but don’t play it yet. First, get just those first few notes fluid and comfortable and up to tempo. Then stop just before the next group of notes with your fingers right over the next notes you are about to play, but don’t play them. After the pause, play the next note group. Do this again and again, shortening the break between these two small note groups little by little until you get to a point where the break is so short that it’s rhythmically imperceptible. So you know the break is there mentally, but it’s no longer aurally perceptible. It just gives you that moment to relax because you practice relaxing at that exact point by stopping on the last note of the previous group of notes while being over the next note group in a totally relaxed manner. You can work through small snippets one by one in this manner stopping just before the next note group while being right over the notes you are about to play.

Now you have two entirely different ways of solving technical problems!

The great thing is you can alternate between them. Sometimes one method will work just like magic. You’ll be able to move quickly through metronome speeds and in 10 minutes you’ve got an entire passage solved. Another time you may work this way and find that you can play almost all of it up to speed, so you find exactly where you can’t quite play up to speed and work on just those note groups. Then you can put the note groups together.

These are two incredibly valuable techniques for solving many technical problems you have in your piano practice. Remember when doing progressive metronome speeds, be totally secure at the slowest possible speed so you gain a high level of security and confidence and repeatability first. Then with each progressively master metronome speed, strive for that same level of comfort and speed. Take it to the point of diminishing returns. When you are working way too long just to get one notch, leave it for the next day. But it’s possible you can focus on just a couple of small note groups that you can master by stopping just before a problem spot, being relaxed with your fingers over the keys of the following passage.

I would love to hear how these methods work for you! I use these two techniques incessantly in my practice, and many other pianists do too. Thanks again for joining me! I’m 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 how music creates emotion. There are many scientific studies about this. It’s remarkable that you can listen to a tune, a theme, a composition, a symphony, or a song, and it can make you feel something inside! How is this possible? There’s a lot to it. But today I want to talk about two fundamental principles of music that I believe are the primary mechanisms by which we feel emotion in music: repetition and development.

Repetition is such a strong aspect of being able to feel emotion in music.

Repetition helps you to comprehend what’s going on. There’s something very refreshing about returning to a familiar theme, particularly when you transition from something chaotic. That’s why a sonata-allegro form which has repeated sections of themes that develop, then return later, is a magical formula. It feels right. The same sort of formula is used in popular songs. The verse and chorus alternate back and forth. Then the bridge takes you astray. So when the verse or chorus returns, it feels so satisfying!

Development is also vital.

Developing upon a familiar theme can bring out many different emotions. For example, the beautiful theme in the Chopin G Minor Ballade. – how it is first stated, and how it comes back completely differently again and again. And because it’s a familiar theme, it has so much power. In the first repeat of the theme, it has little embellishment. But later in the Ballade, you hear the same theme in a grandiose version. It transcends into a gloriously dramatic theme. But if you hadn’t earlier heard the same theme in that delicate, poetic setting, it wouldn’t have such an impact. That’s just one example. There are limitless examples of repetition and development in music, which are the keys for being able to create emotion in music. There’s much more to it than that, but these are two elements that are intrinsic to virtually all music!

I hope you’ve enjoyed this. Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Welcome to LivingPianos.com, I’m Robert Estrin. A viewer asked me, “How are piano competitions judged?” And it got me thinking. It’s such a subjective thing, isn’t it? Who’s better Who plays the piano better? Obviously it’s more art than science. So there’s a lot to this question. I’m going to dive right in for you! There are more fine concert pianists in the world today than ever before in history. Consider this:

In China alone there are over 40 million piano students!

Many of them are extraordinarily accomplished. And of course there are pianists all around the world. But there are a limited number of competitions. The international competitions, like the Cliburn, the Chopin, and the Tchaikovsky attract the greatest talent from the entire world.

What does it take to enter these competitions?

You have to play at such a high level to even approach these competitions because the repertoire requirements are tremendous. These top tier competitions require several complete programs, concertos, chamber music, all from memory, and sometimes there will be a piece written just for the competition that nobody’s ever seen or heard before! Instead of being able to refresh all the music that’s percolating in their heads, competitors have to immerse themselves in a brand-new piece to learn on the spot! How’s that for a challenge? Yet, there are still so many people vying for these piano competitions. The truth is, just being able to get into the semi-finals in one of these competitions is a milestone.

What is it like to compete in a piano competition?

Just like the Olympics, people prepare for months or years in anticipation of this one day. These competitions only come around periodically. Competitors might have a good day, they might have a bad day. Maybe they got a cold just the night before. The piano used in the competition might have an action similar to what they are used to and they’re right at home. Conversely, somebody else might feel off-put by the piano if it doesn’t feel anything like what they’re used to. Many of these top tier competitions, like the Tchaikovsky, offer a choice of pianos. Making that choice can be a very tough decision as well.

What are some of the things that enter into how judges evaluate one pianist to the next?

There are many things involved, but I’ve got an interesting story for you. Years ago, the wonderful concert pianist, Ivo Pogorelich, entered the Chopin competition. At a certain point, he was eliminated. But one of the judges of that competition was the great pianist, Martha Argerich who was so incensed by this, that she walked out of the competition! This made news and actually propelled Pogorelich into a career from the sheer spectacle of it all! But why do you suppose that Ivo Pogorelich was the favorite of Martha Argerich, and yet the other judges dismissed him? Well, one of the factors of competitions is that a pianist who really makes a statement and has a personality that is different from anything people have heard before will be loved by some and detested by others. In competitions, there can be a race to the center. It may be beneficial to not be extreme in one direction or another. And that’s kind of sad really. But how else do you quantify?

Tempo can play a role in how a judge may perceive a performance.

Judges are sitting there hour after hour, listening to pianist after pianist. If somebody comes in there and gives a very energetic uptempo performance, it can be invigorating! Then if somebody comes and plays a very beautiful, elegant performance, it may not have the same energy. After you hear a piece at a faster tempo, going to a slower tempo can be a let down. It sounds a little bit lifeless by comparison. This makes it very difficult to appreciate the slower performance. Though if you didn’t hear them next to each other, you might actually prefer the elegance of the slower performance! This is why many times the faster, louder player wins competitions.

But how else can you quantify who’s better? Let’s say somebody comes in and plays a Mephisto Waltz of Liszt. They play it faster than anybody else. It’s clean and it’s convincing. It’s very difficult to fault that, isn’t it? Of course, that player could play it slower if they chose to. But could the other players play it as fast? That’s an unknown. So there’s a lot to the idea of playing faster, playing louder, and playing very straightforward the way everybody expects the music to sound. I hate to think that that’s the way competitions are run, and truly they aren’t always run that way. But there is the risk of them turning out that way because of human nature.

As a performer, should you toe the line, or play to your own convictions?

You wonder how performers entering these competitions think about this. Are they going to take a chance and play the way they want to, even if they know it’s radically different from anything anyone else has done? Or are they going to play it safe and try to play for the judges? In my opinion, you really have to go for it and play to your own convictions. And that really is the lesson for today. Sometimes the winner is the person who plays to their convictions, and they play in such a way that it makes it seem as if it’s the only way the music should be played! This is not an exact science. This is art. It’s so subjective. That’s why this is an excellent question!

Keep the questions coming in! I pay particular attention to my Patreon subscribers. Those of you who want to have more input on these videos, I suggest you join my Patreon channel. www.Patreon.com/RobertEstrin

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Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about what it takes to become a piano teacher. I received this question from a viewer. This is a really pertinent question because a lot of people who watch Living Pianos videos are teachers, or are thinking about teaching.

Because the internet is global, I talk to people all over the world. In fact, I have students in Australia, Pakistan, The United Kingdom, as well as all over The United States. Interestingly, in other countries the requirements for teaching piano are quite different from what they are here in The United States. Here in The U.S., there are 3 different types of music teachers. There are people who teach in the public schools, there are university and college teachers, and there are private teachers. Each of these have different requirements.

What are the requirements for teaching music in schools?

Piano isn’t typically taught in public schools, but to be a music teacher of any kind in public schools, whether it’s K-through-6, middle school or high school, takes certification, a degree or two including an education degree. And that’s really all that’s required. At the university and college level, all too often, they are looking for people with at least Master’s degrees. But it’s so competitive that having a Doctorate puts you in an advantageous position. Because unless you have something to set yourself apart in your resume, it’s very difficult to get any attention. There are very few teaching positions relative to the number of qualified applicants coming out of music conservatories and universities.

What does it take to be a successful private teacher?

For private piano teachers, and private music teachers of all ilks, there are absolutely no formal requirements. Anybody can put up their proverbial virtual shingle and say, “I’m a piano teacher.” And all too often people do just that. The flip side of this is some of the most accomplished pianists who have multiple degrees are not necessarily good teachers! As a private teacher, you need to be able to play the piano, or at least have been able to play the piano on a high level at some point. It’s really not necessary to be a concert pianist to be a great teacher. While some concert pianists are great teachers, there are concert pianists who are not good teachers at all. Many of them started very young, and were prodigies. They could play well due to natural ability. They can’t even remember having learned the fundamentals on the instrument. They were already advanced players at a young age. To relate to somebody starting out can be extremely difficult. Now, this isn’t to say that there are not people who were child prodigies who grew into great pianists and great teachers. I studied with Ruth Slenczynska, who was one of the great child prodigies of the 20th century. She was an absolutely wonderful pianist and teacher. So it does happen.

You have to have been a formidable pianist at one point in your life in order to understand enough to be able to teach.

Of course, if you’re teaching very young children, only going up to an intermediate level, you don’t necessarily have to be a very accomplished pianist. You just have to be a competent pianist who knows how to read music well and how to figure out and teach rhythms as well as hand positions and other aspects of piano technique. So how do you learn how to do all of that? The best case scenario is to have great training. If you’ve had great training, you might remember your early lessons. You might even have old books. I have the original manuscript book that my father worked through with me when I started lessons as a very young child. I still rely upon the things I learned from him in my own studies. I’ve taught them countless times over the years, because I also had the benefit of having assisted my father with his teaching. So he trained me in teaching as well.

Having a great teacher guide you in your piano pedagogy is invaluable.

I’ve worked with many teachers helping them to hone in their teaching skills, to know how to deal with students, and to take their teaching to another level. Maybe they want to teach and they find a lot of students, but they don’t feel comfortable teaching because of the repertoire or the style. Or they have students who want to study with them, but the students want to learn more theory than they’re comfortable with. I’m happy to teach people how to teach, and finding a mentor can be invaluable. So read up on various techniques, go to conventions. There are many ways of immersing yourself in teaching the piano. It is particularly important to spend time reflecting upon how you practice and be able to break it down into individual steps. That is the most important aspect of teaching. That’s something I learned from my father, not just with playing and practicing the piano, but music theory, sight-singing, all the disciplines. Breaking disciplines down methodically and explaining all the steps involved is invaluable for students. And if you can do that for people, it will be extremely productive for them.

I hope this is helpful for you! Any of you who have more questions, I offer counseling for my Patreon members. So if you’re thinking you want to teach and you want more advice, join my Patreon and I’ll be there for you! www.Patreon.com/RobertEstrin

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Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about movie music. What is the secret of movie music? It all comes down to thirds relations. I’m going to show you a little bit of music theory behind movie music. Once you know how it’s done, it will take the mystery out of it. I’m going to show you the trick! How does movie music bring out emotions to make you feel a certain way? It comes down to median or third relations. Typically, harmonies on the piano are based upon movement in fourths and fifths. Those are perfect intervals. For example, one chord to a four chord. That’s the movement of a fourth. Or one chord to a five chord. Those are your primary chords, One, four, five, one is a classic cadence in music.

You can sometimes move in the relationship of a third when you’re within the key.

You can go from one to six, from C to A. Then you go down to F which is four. And that has an interesting sound as well. But it’s when you go out of the key that you’re in that it starts to get interesting. If you do that with fourths or fifths it will sound quite familiar. Let’s say you’re in C major and you want to change keys to D. How do you get to D? Go to the five of the D. The five of D is A. So if you’re in C major and you play an A seventh chord, that’s going to bring you right to D. If you want to go back, you play the five chord of C which is the G seven. That is very typical sounding harmony. Even though we went outside of the key of C major, it doesn’t sound particularly unusual. But when you do it in thirds it’s a very different sound. If you go from C to A major you will instantly recognize a very familiar theme from the movie Star Wars.

Going with thirds to minor keys produces a very compelling sound.

If you start with C major, then go to E minor, then G minor it’s an ambiguous tonality with amazing colors. You can then go to B flat minor. And you can go to major chords also. You get the sound of something mysterious. Because you can’t really predict where it’s going.

So that’s a little bit about third relations. I hope knowing the secret it doesn’t take the pleasure out of movie music for you! This technique is used so much of the time. Now that you know what to listen for, you may notice when you hear it. When you’re listening to film scores I want you to listen for that sound. There are so many film scores with major and minor chords in thirds. It’s such an interesting and captivating sound!

I hope you’ve enjoyed this. All of you out there who play the piano should experiment with this. Play chords, particularly major chords to minor chords a third away, and then go another third higher or lower. It’s such a rich sound! You can create these sounds for yourself. It might be the impetus for a composition or an improvisation. Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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