Piano Lessons- Music Theory Lessons

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.

Welcome to LivingPianos.com, I’m Robert Estrin. Today we’ve got a story that will blow your mind. It’s about one of the wildest scandals to ever hit the classical music world. It’s got everything—deception, stolen recordings, and a secret that fooled everyone for years. We’re talking about the unbelievable case of Joyce Hatto. Let’s dive in!

Joyce Hatto was a British pianist who had a pretty standard career early on.

Later in life, she stopped performing because of illness—or so we thought. Then, in the early 2000s, she suddenly started releasing an insane number of recordings. And not just any recordings—these were brilliant performances, covering a wide range of the most difficult piano repertoire. Critics were stunned. People couldn’t believe how amazing these recordings were, coming from a pianist who had been out of the game for so long! But here’s where it gets crazy.

The recordings? They weren’t hers!

Her husband, William Barrington-Coupe, was the mastermind behind it all. He took recordings from some of the world’s top pianists, made slight tweaks to them, and passed them off as Joyce’s own work. It’s hard to believe, but some truly incredible artists got caught up in this. Take Minoru Nojima, for example—his breathtaking performance of Liszt’s Transcendental Études was passed off as Hatto’s! I actually went to school with him. Minoru was one of Constance Keene’s star pupils at the Manhattan School of Music, and he had won the Van Cliburn Competition. We were in masterclasses together, and let me tell you—he’s an unbelievable pianist.

But it didn’t stop there. László Simon’s recording of Rachmaninoff’s Piano Concerto No. 2 was stolen, and even Yefim Bronfman’s epic rendition of Rachmaninoff’s Piano Concerto No. 3 was used. These are top-tier pianists, and their work was being passed off as someone else’s—right under everyone’s noses’

So how did this all get exposed?

It wasn’t until 2007 that someone noticed something was off. A sharp-eared reviewer thought one of Hatto’s recordings sounded awfully familiar. The deception was discovered when playing one of Joyce Hatto’s CDs in iTunes. It came up as belonging to a completely different pianist. So, they used audio fingerprinting technology and it revealed that many of the recordings released under Hatto’s name were actually taken from other pianists, with slight modifications to disguise them. This discovery unraveled one of the biggest frauds in classical music history. Can you believe that? For years, people were raving about these recordings, thinking they were hearing a miraculous comeback from Hatto. But instead, it was a cut-and-paste job by her husband, who had taken bits from other pianists’ recordings, made a few sneaky edits to disguise them, and released them as Joyce’s.

People were genuinely heartbroken when they found out.

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.