Piano Lessons- Music Theory Lessons

Welcome to Living Pianos! I’m Robert Estrin. It often feels like all concert pianists were child prodigies, but is that really the case? I had the privilege of studying with Ruth Slenczynska, a remarkable concert pianist often regarded as one of the greatest child prodigies since Mozart. Ruth began performing concerts at the age of four and continued to perform brilliantly into her nineties. Her story is a testament to the possibilities that early training can offer. But are there any concert pianists who were not child prodigies?

Notable Pianists Who Started Later

Interestingly, several renowned concert pianists did not start as child prodigies. Jorge Bolet, for example, was always musically inclined but did not gain widespread recognition in his youth. Another extraordinary pianist, Sviatoslav Richter, while musically talented as a child, achieved fame later in life. Giovanni Bellucci, an Italian concert pianist, started his piano studies at 14 and went on to become a notable performer, demonstrating that late starters can also thrive.

The Importance of Musical Exposure

As a teacher, I’ve noticed that older beginners who have prior musical experience—whether from another instrument or singing—often adapt more quickly to the piano. Even exposure to music at home can significantly enhance one’s ability to learn later on. Music is, after all, a language, and growing up with it can be a considerable advantage, though not a strict necessity.

Historical Perspectives

Historically, many great musicians, like Mozart and Mendelssohn, were indeed child prodigies. However, figures such as Hector Berlioz, who lacked formal training in his youth, remind us that exceptional musical talent can emerge regardless of when one starts. The key takeaway is this: if you’re beginning your musical journey later in life, don’t be discouraged. The odds are not stacked against you. With dedication, hard work, and a genuine passion for the piano, anything is possible. Embrace the journey, and let your love for music guide you. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. Thanks for joining me, and I’ll see you next time!

Hello, I’m Robert Estrin, and welcome to LivingPianos.com. Today, I’d like to guide you through the realm of piano playing – a journey every pianist, whether a beginner or advanced performer, must undertake. In my experience as both a performer and educator, I’ve come to realize something significant: our approach to the piano is deeply personal. There are numerous techniques available, and ultimately, each pianist must discover their unique way that feels authentic and physically comfortable.

Integration of Multiple Traditions

Over the years, I’ve delved into various techniques from around the globe. My methodology isn’t confined to a single tradition. I incorporate the deep, resonant sound characteristic of the Russian school, the precision and clarity of the German school, and the expressive flexibility of the American school. Recently, I’ve also explored contemporary methods such as the Taubman Approach and the principles of Abby Whiteside. The beauty lies in the fact that each of these approaches has distinct advantages, and by blending them, I’ve cultivated a practical, adaptable playing style suited to today’s piano performance landscape.

Natural Movements and Ergonomics

A crucial element of my teaching is the emphasis on natural movement. Playing the piano should never feel forced or tense. I stress the significance of ergonomics – reducing tension and allowing your hands, arms, and body to move freely. This focus goes beyond injury prevention; it enhances the efficiency and expressiveness of your playing. Techniques like utilizing relaxed arm weight, maintaining natural finger positioning, and coordinating arm and wrist movements yield a much richer tone than relying solely on finger strength.

Musicality and Emotional Expression

However, technique by itself is insufficient. The most vital aspect is forming an emotional connection with the music. This concept, championed by Abby Whiteside, resonates deeply with my teaching philosophy. Mastering technical skills should aim for one goal: to convey the emotions embedded in the music. Once you grasp a piece’s structure and sense its emotional depth, your technical choices will naturally align.

Practical Application and Pedagogy

My teaching is grounded in practicality. I’ve engaged with students at every level, from those starting with their first pieces to those performing complex repertoire. My goal is to simplify intricate challenges – such as fingering, pedaling, voicing, and phrasing – into clear, manageable concepts that can be implemented immediately. It’s all about transforming the daunting into the accessible, allowing you to concentrate on the music itself.

Use of Modern Technology

Today, modern technology facilitates reaching a broad audience like never before. I’ve adopted video lessons, online tutorials, and multimedia resources to make these ideas available to everyone, anywhere. LivingPianos.com has become a valuable asset not just for students but also for teachers, providing insights into everything from foundational techniques to advanced repertoire interpretation.

Conclusion: Finding Your Own Path

The key takeaway here is that no single method suits everyone. Each pianist must carve out their unique path – one that feels authentic and physically comfortable. You’ll incorporate elements from various traditions, but ultimately, your style will reflect your individuality as a musician.

Thank you for accompanying me on this journey today. I hope you found some valuable insights for your own playing. As always, I’m Robert Estrin, a pianist and educator at LivingPianos.com. My approach fuses various elements of piano technique to create a practical, adaptable method that aligns with modern pedagogical practices. Until next time, keep playing, keep exploring, and discover what works best for you.

Please share your thoughts in the comments here at LivingPianos.com and on YouTube! I’m Robert Estrin at LivingPianos.com, Your Online Piano Store. Thanks for joining me, and I’ll see you next time!

Welcome to Living Pianos! I’m Robert Estrin. Today, I want you to imagine a time when electricity was a mystery, and the concept of hearing music without a musician playing in the room seemed like science fiction! In Thomas Edison’s laboratory, however, a single piano would go on to change the course of history. This isn’t just any piano; it’s a Steinway that Edison personally selected in 1890. But Edison’s relationship with this instrument went beyond simply playing it.

A Unique Experience of Sound

Edison, who faced profound deafness, experienced music in an extraordinary way—he felt it through his teeth! The marks left by his teeth on this piano demonstrate his innovative approach to experiencing sound.

From this very instrument, music was recorded for the first time.

Edison recorded performances by legendary artists who visited his laboratory, including Rachmaninoff. This piano represents more than just a collection of wood and strings; it embodies the dreams and aspirations of inventors and musicians alike. Its sound is so pure that it seems to resonate through history itself. This remarkable instrument stands as a testament to the visionaries who have shaped our world. It is a relic of innovation, art, and enduring beauty, reminding us of the profound connections between music and technology. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. Thanks for joining me, and I’ll see you next time!

Welcome to Living Pianos! I’m Robert Estrin. Today we’re going to explore something a bit different—something that gets to the heart of how we create and connect through music and art. Recently, Apple released an ad called ‘Crush,’ and it got a lot of people talking… but not in the way Apple intended.

In this ad, we see pianos, paints, cameras—all tools of creative expression—literally crushed by a massive hydraulic press, only for an iPad to emerge from the debris.

The message was clear: ‘You don’t need these tools anymore. The iPad can do it all.’ But this imagery—this destruction of instruments and artistic tools—struck a nerve with many musicians and artists. The ad has been called ‘tone-deaf’ and ‘insulting’ by those who see their creative tools as extensions of themselves, not just objects to be replaced by a screen. I think this ad reveals something deeper about where we’re headed as a society—away from the tangible, the physical, and the personal, toward an increasingly digital, disconnected world. And yes, the piano, an instrument that has inspired people for hundreds of years, is a casualty in this transformation. We’re seeing a shift where creativity is being funneled through screens, apps, and devices, often at the expense of the rich, tactile experience of creating music with our hands, on real instruments.

When you play the piano, you’re not just making sound.

You’re interacting with the wood, the felt, the hammers. The vibrations resonate in your body and in the air around you. It’s an organic, visceral experience that a digital interface simply can’t replicate. And this extends to many other art forms—painting, photography, sculpture. These are processes where the tools themselves influence the outcome, and that connection between artist and medium is becoming increasingly lost.

The concern here isn’t just about technology replacing tools—it’s about the mindset that comes with it.

The idea that a device like an iPad can replace centuries of artistic tradition might be convenient, but it also risks trivializing the depth of what it means to create. There’s a big difference between playing a note on a piano and tapping a virtual key on a screen. And that difference matters. It’s about the soul of the music. We’ve seen this play out already with music itself. Digital audio, streaming platforms, and MIDI technology have revolutionized how we make and consume music, but they’ve also led to a certain ‘flattening’ of creativity. Musicians are expected to do everything on their laptops—compose, record, mix, and master—without ever touching an actual instrument. The craftsmanship that goes into playing an instrument is being sidelined. And in a way, the piano is becoming a symbol of this shift—something that represents the tangible creativity we’re losing in the rush to go digital.

Don’t get me wrong—technology has its place.

Digital tools like the iPad can be incredibly powerful, offering accessibility and convenience that can be beneficial, especially for young creators. But the danger lies in thinking that they replace traditional creative tools. They’re just different. The piano, for example, is not just a means to an end; it’s an entire experience of expression. And that experience is something worth preserving. At the end of the day, creativity is about the connection between the artist and the medium. Whether it’s a piano, a paintbrush, or a camera, these tools have shaped the way we express ourselves for generations. Losing that connection in favor of digital convenience? That’s a loss we can’t afford.

I’d love to hear your thoughts on this. Is there a place for both traditional tools and digital technology in the future of art and music? Let me know in the comments here at LivingPianos.com and on YouTube! Thanks for joining me, and I’ll see you next time!

Welcome to Living Pianos! I’m Robert Estrin. Today we have a truly extraordinary story about the world’s largest piano! Let’s start with something familiar. Most concert grand pianos, like Steinway’s famous Model D, measure around 9 feet long. This is the gold standard for concert halls worldwide. But some piano makers push these limits. The Bösendorfer Imperial Grand, for instance, stretches to 9 ½ feet and even features extra keys in the bass range, creating a massive sound. Then there’s Stuart and Sons from Australia, with pianos just under 10 feet! But it doesn’t stop there. The Italian maker Fazioli takes it even further, producing a 10-foot 2-inch concert grand piano—currently one of the largest concert pianos in regular use. But today, we’re talking about a piano even larger than that!

Adrian Mann, a young piano enthusiast from New Zealand, had a vision that went beyond anything we’ve ever seen.

At just 15 years old, Adrian took on the incredible challenge of building the world’s largest piano. And when I say large, I mean massive! This piano measures a jaw-dropping 5.7 meters in length, or over 18 feet long! It took him four years to complete, and the result is simply spectacular. What makes this piano truly special isn’t just its size, but the sound it produces. The deep, resonant bass and rich tones created by the enormous soundboard are unlike anything you’ve ever heard before. It’s a whole new level of piano performance, with strings so long that the vibrations create a truly immersive experience.

Adrian’s creation stands as a testament to the dedication and passion of one individual, pushing the boundaries of piano craftsmanship to new heights.

Welcome to Living Pianos, I’m Robert Estrin! Today, we have a truly extraordinary story—one that blends music, history, a lost treasure, and the enduring mystique of Beethoven himself. We’re diving into the fascinating tale of a long-lost Beethoven manuscript discovered in the most unexpected of places—a library in Pennsylvania!

Imagine this: It’s 2005. At a small library in Pennsylvania, an unassuming stack of papers is uncovered.

Among them, one piece stands out—a manuscript in Beethoven’s own hand. But this wasn’t just any work. It was the score for the “Grosse Fugue,” a monumental, complex, and controversial piece from Beethoven’s late period. This single-movement fugue for string quartet, Opus 133, was groundbreaking in its intensity and scope. Written in 1825, it pushed the boundaries of the quartet form so far that Beethoven’s contemporaries struggled to understand it. The manuscript had been missing for 115 years.

This rediscovery isn’t an isolated event in music history.

Just like this Beethoven manuscript, there have been other monumental finds. For instance, later, I’ll reveal another huge discovery—another major find from a different composer—that is incredible! But back to the Grosse Fuge: How does a manuscript like this—a direct connection to Beethoven’s genius—get lost for centuries? The mystery deepens when we learn that this wasn’t just a working draft; this was a complete, final manuscript, presumed missing for generations. It is a four-hand piano version of his opus 133 string quartet finale! Experts believe that the document somehow made its way to the United States through a private collection. For decades, it sat quietly, its historical significance unknown to everyone who passed by it in that library.

What makes the “Grosse Fuge” itself so intriguing?

It’s an immense double fugue, a form that Beethoven explored in a way no one else had. Even today, the Grosse Fuge remains a technical and emotional Everest for performers. Back in the 19th century, it was so avant-garde that Beethoven’s publisher suggested replacing it as the final movement of his String Quartet in B-flat major, Op. 130, to avoid alienating audiences. And yet, here it was, one of the most challenging pieces Beethoven ever wrote, sitting unnoticed in a small American library.

After its discovery, the manuscript went to auction at Sotheby’s, where it fetched a staggering $1.7 million!

The sheer value speaks to both its rarity and the monumental impact Beethoven’s work still has on the world today. The rediscovery of such a piece is more than just a historical footnote—it’s a reminder of how much more we still have to learn about the great composers, and how their music continues to resonate, even centuries after it was written.

Johann Sebastian Bach experienced a similar posthumous revival.

After Bach’s death in 1750, much of his music was forgotten. In fact, only about half of Bach’s music is known to have survived to this day. At the end of Bach’s life, his reputation faded. In fact, his sons were more popular musicians than he was! Then, in 1829, the great composer, Felix Mendelssohn, revived interest in Bach’s works. He was music director in the same church where Bach had worked in Leipzig, the Thomaskirche. He uncovered a staggering number of works of Bach hidden away in the church. He breathed new life into Bach’s legacy by staging a performance of Bach’s St. Matthew Passion and revived the interest in one of the greatest composers to have ever lived!

So, what do you think? What other musical treasures might still be waiting to be discovered, hiding in plain sight? 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.

Welcome to Living Pianos, I’m Robert Estrin! Today, we’re pulling back the curtain on one of the most prestigious—and controversial—piano competitions in the world: the Van Cliburn International Piano Competition. While this event has crowned some of the greatest pianists of our time, it’s also been the center of some serious controversy. Let’s dive in!

The Van Cliburn Competition has long been seen as the pinnacle of achievement for aspiring concert pianists.

Held every four years in Fort Worth, Texas, winning this competition can launch a pianist into the stratosphere of classical music. But it hasn’t been without its fair share of drama—starting with allegations of biased judging.

Did you know that during the height of the Cold War, Van Cliburn himself faced political interference?

When Cliburn competed in the first-ever Tchaikovsky Competition in Russia in 1958, Soviet Premier Nikita Khrushchev was asked whether Cliburn should win. After hearing how popular he had become with Russian audiences, Khrushchev gave the go-ahead. Despite this victory, some jurors in later Van Cliburn Competitions, such as in 1962, faced pressure and rumors of favoritism toward Soviet pianists like Lev Vlasenko, causing tensions within the judging panel.

Controversies in piano competitions go deeper than just political influences.

One of the most famous incidents happened during the 1980 Chopin International Piano Competition when Ivo Pogorelich, a pianist with a unique and avant-garde approach, was eliminated early. This prompted renowned pianist Martha Argerich, who was serving as a judge, to walk out in protest. She called Pogorelich a “genius,” but his unconventional style offended some of the more conservative jurors, highlighting how competitions often favor safer, less daring interpretations. This raises the question: Do these competitions truly reward the most creative artists, or do they push forward those who conform?

The level of pianists entering these competitions is incredibly high.

The repertoire requirements alone assure that anyone entering major piano competitions is on an incredibly high level, requiring technical mastery, artistry, and endurance. One of the judges in the Chopin International Competition was once heard saying they wouldn’t consider anyone who didn’t play note-perfect. This suggests that the expectations are so demanding that they might stifle artistic expression. Do competitions really do justice to the artform of piano playing, or are they prioritizing technical perfection over unique interpretation?

Many insiders believe that political alliances and favoritism have influenced which pianists rise to the top.

It’s no secret that jurors often come from similar circles—a ‘closed club’ of piano teachers who wield enormous power over the careers of young artists. This has led to widespread debates over the fairness and transparency of the judging process.

Winning international piano competitions today doesn’t always guarantee a sustainable career.

With so many new winners emerging, it becomes challenging for one pianist to stay at the top. While competition winners often spend their time traveling and performing, they have less opportunity to practice and refine their art, making it difficult to stay competitive as younger musicians—who have more time to practice—rise through the ranks. Even prestigious titles may not hold the weight they once did in establishing long-term careers.

What does this mean for the integrity of piano competitions?

Should we reconsider how jurors are selected? And how much of a pianist’s success is really determined by talent versus connections or politics? The Van Cliburn competition is a legendary stage for pianists, but the controversies raise important questions. Is it time to rethink how we judge the future of classical music? Let me know your thoughts in the comments below. And as always, subscribe to Living Pianos, your online piano store, for more deep dives into the world of music. I’m Robert Estrin. I’ll see you next time!

Welcome back to Living Pianos, I’m Robert Estrin! Today, we’re diving into the world of one of
the most iconic, flamboyant, and controversial figures ever to sit at a piano—Liberace! This man
wasn’t just a pianist; he was a phenomenon! He turned the classical world on its head with his
dazzling costumes, crystal-studded pianos, and showmanship that left audiences breathless.

Growing up, all my friends knew one name when it came to the piano: Liberace.

For many, he was the greatest pianist in the world—Horowitz, Rubinstein? For most of my friends, Lieberace
was the only pianist they knew! That’s the kind of cultural influence he had. He transcended
classical music and brought it to the masses, not with stuffy concert halls, but with the glitz and
glamour of Hollywood. He wasn’t just a famous pianist, he was the highest paid entertainer in
the world!

But beneath the sparkle and charm, Liberace’s life was filled with controversy and personal drama.

He worked hard to craft his public image, but his personal life was far more complex. Liberace faced rumors about his sexuality for decades, and this was a time when these types of things were hidden from the public. Although he adamantly denied being gay and even sued tabloids for such claims, his relationships, especially with men, were well-known behind the scenes. Yet, Liberace managed to maintain his public persona as the ultimate entertainer, creating a wall between his on-stage charisma and his private struggles.

Growing up, I remember some people believed that Liberace’s showmanship was somehow denigrating classical music.

They felt his over-the-top performances detracted from the seriousness of the art. But here’s the reality—Liberace did something no one has managed to do since: he made the piano a mainstream phenomenon! Today, we have no one in the public eye who captivates people with the piano in the way Liberace did. He helped to popularize the instrument, bringing it into living rooms across America and beyond. And that’s a loss for the piano world today. We’ve seen virtuosos come and go, but none have blended musicianship and entertainment like Liberace. Whether people loved or criticized his flamboyant performances, no one can deny that Liberace put the piano front and center in the entertainment world.

Liberace was more than just a performer—he was a warm and nurturing teacher.

In fact, I’m fortunate to currently teach one of his former protégés. She often tells me how Liberace wasn’t just a mentor on stage; he was genuinely caring, always taking the time to nurture his few students. This compassionate side of Liberace is something you don’t always hear in the headlines, but it shows that even in the midst of his glittering lifestyle, he never lost touch with the people around him.

His performances were jaw-dropping, his lifestyle scandalous, but Liberace’s legacy is unmatched.

Whether you loved him or criticized him, there’s no denying that Liberace changed the game for piano performers and entertainers alike. He turned every concert into a spectacle—complete with dazzling costumes, giant candelabras, and his signature crystal piano. So, what do you think? Was Liberace a genius, an entertainer, or both? Let me know in the comments here at LivingPianos.com and on YouTube! And don’t forget to subscribe to Living Pianos, Your Online Piano Store, for more amazing stories from the world of music.

Welcome to LivingPianos.com, I’m Robert Estrin. Today we’ll explore the fascinating world of non-chord tones and how they can enrich your musical compositions. If you’ve ever attempted a harmonic analysis of your music—essentially identifying the chords that underpin your pieces—you might have encountered some challenges. I’m here to guide you through these obstacles and show you how to successfully analyze harmonies to deepen your understanding of your music’s structure.

Understanding Harmonic Analysis

To begin, let’s discuss the fundamentals of harmonic analysis. In Western harmony, most music is built around chords formed from intervals of thirds. This means that every other note in a scale contributes to the construction of chords. For example, in a C major triad, we have the notes C, E, and G. Sometimes, chords can be inverted, which can create confusion when trying to identify the root note. If you encounter a C major chord with the C note on top, simply rearranging the notes will reveal the root by putting C on the bottom. This arranges the notes in thirds with every other letter of the alphabet. On the staff, chords in root position will be on all lines or all spaces.

Identifying Non-Chord Tones

However, you may find notes that don’t seem to belong to the chord; these are known as non-chord tones. In more advanced harmonies, especially those from the 20th century, such as those by Debussy, Ravel, and various jazz composers, any note can potentially function as part of a chord, adding complexity and depth to the music. For instance, a 13th chord in C could include all the notes from the C major scale, demonstrating just how expansive chord structures can be. But if your focus is on the classical composers—from Bach and Mozart, to Tchaikovsky—the techniques I’ll share will be particularly relevant.

Exploring Types of Non-Chord Tones

Let’s delve into several types of non-chord tones, each contributing to the music’s beauty and tension.

Passing Tones

Passing tones are approached by step and resolved by step in the same direction. For example, in a C major chord, the note D does not belong but creates a smooth transition between C and E, enhancing the harmonic movement.

Neighbor Tones

Neighbor tones are similar; they are approached by step and resolved by step in the opposite direction. For example, if you have a C major chord, the note F would serve as a neighbor tone, returning to the tone of the chord afterward.

Suspensions

Suspensions are approached by the same note and resolved downward by step. For instance, starting with an F major triad and adding a C note that doesn’t belong creates tension, which resolves beautifully to B, and ultimately to C major.

Retardation

This one is less commonly used, but it is another non-chord tone. Retardations are approached by the same note and resolved upward by step.

Appoggiatura

Appoggiaturas are approached by leap and resolved by step. They can resemble grace notes in your music, but they shouldn’t have the little line through them. Appoggiaturas are little notes that are longer than grace notes.

Escape Tones

Escape tones are approached by step and resolved by leap in the opposite direction. For example, moving from a C major chord to an F note (non-chord tone) and then leaping to another chord tone can create a lovely tension.

Anticipations

Anticipations, on the other hand, are approached by step and remain on the same note, creating a sense of expectation that resolves nicely into the next chord.

Pedal Point

Finally, let’s consider pedal point, which derives its name from the organ. An organist will push down a low pedal and leave it down while playing all sorts of harmonies above it. Some of the chords above will be part of the pedal tone harmony, and others will not. This creates a rich texture, enhancing the overall harmonic experience.

Putting It All Together

When analyzing your music, start by organizing the notes into thirds, keeping in mind that chords may be inverted. Look for notes that don’t fit the established harmonies—these are likely your non-chord tones. Understanding how these tones resolve back to the chord tones will illuminate the harmonic structure of your music. By recognizing and analyzing non-chord tones, you can appreciate their role in creating tension and beauty in your compositions. This process not only aids in performance but also enhances your overall musical understanding. If you have any other ideas about non-chord tones, leave them in the comments here at LivingPianos.com and on YouTube! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store.