Piano Lessons- Music Theory Lessons

Master the 5 Pillars of Piano to Dramatically Improve Your Playing

•Reading (sight-reading)
•Learning (memorizing)
•Improvising (playing by ear)
•Technique
•Theory

NEW PROGRAM

•Imagine having a step-by-step system of how to work effectively at the piano, guided by a concert pianist/educator along with a support group of like-minded individuals so you can supercharge your piano playing.

•Showing exactly how to take your reading and playing to new levels so you can play music that has always been out of reach.
Where everybody is aligned towards the same goal: dramatically improving your piano playing so you can feel confident at the piano.

•I will be coaching so you have professional guidance every step of the way. I have been teaching since assisting my father, Morton Estrin, while still in high school. Studied with great teachers from John Ogdon to Ruth Slenczynska, master classes with Byron Janis.

•Where the focus is on implementation and collaboration so you don’t have to endure long trainings all by yourself.

•It feels like hanging out with friends so you get real results in your piano playing!

Welcome to LivingPianos.com! I’m Robert Estrin. Today, we’re diving into the most deceptive chord in music: the augmented sixth chord. Now, if you’re like many people, you might have heard of it but don’t really know why it’s so special or, frankly, so tricky. So, let’s break it down in a way that makes it easy to understand and maybe even a bit fun!

What Exactly is an Augmented Sixth Chord?

At its core, the augmented sixth chord sounds like a dominant seventh chord. But here’s the twist—it’s not built on the fifth scale degree (like a normal dominant seventh). Instead, it’s built on the flatted sixth scale degree. Confused yet? No worries; we’re going to go step-by-step to clear it up.

Building the Augmented Sixth

Let’s start with a basic major scale:

• In C major, the notes are: C, D, E, F, G, A, B, and C.
• The sixth note of the scale is A, but for the augmented sixth chord, we lower it a half-step to A-flat.

Now, you start building the chord in the typical way stacking thirds, A-flat, C, E-flat. But for the top note, instead of the 7th, G-flat, you add the augmented sixth. So, you end up with this: A-flat, C, E-flat, F-sharp!

That interval between A-flat and F-sharp is what makes this chord augmented—it’s the same note on the piano as the 7th of a dominant chord, G-flat, but it’s written as an augmented sixth, F-sharp, so it resolves differently, which really has an unexpected sound.

The Resolution: Where It Gets Sneaky

Normally, you would expect a dominant seventh chord to resolve to the tonic (a V-I progression). But when you play an augmented sixth chord, it deceptively resolves to a key you didn’t see coming! For example, let’s go back to that C major scale. When you play the augmented sixth chord (A-flat, C, E-flat, F-sharp), it doesn’t resolve to a D-flat chord like you would expect since A-flat is the V of D-flat. (Dominant 7th chords are V7 chords that resolve to I.) Instead, it resolves outward to an entirely different key, C major or minor!. It’s this surprise resolution that gives the augmented sixth its sneaky, deceptive character.

Three Varieties of the Augmented Sixth Chord

Now, here’s the fun part—there are actually three different varieties of the augmented sixth chord, each with its own little twist. Let’s take a look at them:

1. The German Sixth

The German sixth is the most commonly heard form of the augmented sixth chord. It’s made up of the following notes: A-flat, C, E-flat, F-sharp. It has that dominant seventh sound, but again, instead of resolving to the tonic, it resolves outward, usually to C major or minor chord with G on the bottom, the second inversion of the tonic chord. It has a fresh, unexpected sound!

2. The French Sixth

The French sixth is similar to the German sixth but with a slight twist. Instead of using the perfect fifth interval (as in the German sixth), it replaces it with an augmented fourth. This creates a different flavor, almost like a little bit of spice added to the chord. So instead of A-flat, C, E-flat, F-sharp, it’s A-flat, C, D, F-sharp.

This chord can resolve to either the C major chord with G on the bottom, or to a G dominant 7th chord, G, B, D, F.

3. The Italian Sixth

The Italian sixth is a simpler version, where you omit the fifth note of the chord (E-flat) and you double the third, C. This is done to provide better resolution. So this chord can also resolve to C major or minor chord in second inversion (with the G on the bottom), but also can resolve to a G dominant 7th, G, B, D, F. It still gives you that dominant seventh sound, but without the problematic parallel fifths which composers avoid in music.

The augmented sixth chord is so interesting because it’s not just a chord—it’s a way of tricking your ear. You expect it to resolve in one direction, but it surprises you by resolving somewhere else. This chord has been used in classical and modern music to create tension, surprise, and harmonic color. Once you understand how it works, you’ll start hearing it in all kinds of music, from Bach to Chopin, and even in film scores. It’s one of those “ah-ha” moments in music theory!

Wrapping It UpTo recap, the augmented sixth chord is a deceptive chord that sounds like a dominant seventh chord but is built on the flatted sixth scale degree of a scale. It has three main varieties—German, French, and Italian—each with their own distinct flavor and resolution. They’re a great tool for composers to add some unexpected drama to a piece, and now you’ll know exactly why they sound so unique!

For another deceptive chord, check these out:

Welcome to LivingPianos.com, I’m Robert Estrin. I want to talk to you today about the three secrets of sight reading. When I was a kid, I struggled terribly with sight reading. Despite playing advanced music in high school, I could barely read the simplest pieces. It was frustrating, especially when I was expected to sight-read at a high level. Then, one day, I had an epiphany that turned everything around for me. I was reading through the orchestral part of Tchaikovsky’s Piano Concerto in B-flat minor with my father. I missed a lot of notes, but the important part is that I never got lost. I learned something crucial that day: sight-reading is not about getting every note right—it’s about keeping the music flowing.

This moment revealed the three key secrets that helped me become a strong sight-reader. You have to combine what you see, what you hear, and what you feel. These are the three essentials you need to master if you want to improve your sight-reading.

Secret 1: What You See—Reading in Larger Groups

When you sight-read, it’s tempting to focus on each note individually. But this is a mistake. Instead of reading note by note, you need to read in larger groups—either complete measures or blocks of notes that make sense in the context of the music.

Let me show you. I pulled up a Chopin Mazurka I’ve never played or heard before, and I’m going to sight-read it. If you watch me closely, you’ll see that I don’t look at my hands. Yes, I may miss some notes here and there, but the key is to keep going. I’ll occasionally glance at my hands, but only if I have to and only with my eyes, never moving my head down. But never look down for too long. If you look too far down, you won’t be able to find your place again! What you want to do is look at groups of notes or whole measures, depending on the context. This helps you to keep track of where the music is going and avoid getting bogged down by individual notes. You’ll be able to analyze the harmony and anticipate what comes next, just like when you’re reading words on a page—you don’t look at each individual letter; you take in whole words and phrases.

Secret 2: What You Hear—Listening as You Play

Now, let’s talk about hearing. A lot of people think sight-reading is just about what you see on the page, but your ears are just as important. When you’re playing, your ear will tell you when something’s not right, and it will help you adjust as you go.

For example, if you realize you’ve played a wrong note or are in the wrong place, don’t stop to correct it. Keep moving! If you’re accompanying someone, they’ve already moved on. You have to keep up with them. Even if you’re playing solo, you still need to stay connected to the music and trust your ear to guide you back to where you need to be. If your hands are in the wrong place on the keyboard, your ears will tell you. As you look at the music, you’ll have a better sense of where you should go next if you’re listening closely. Just as in any musical performance, listening will keep you on track.

Secret 3: What You Feel—Don’t Stop, Keep the Flow Going

The last secret is about feeling the keys. It’s so important to maintain the flow and rhythm of the piece, even if you miss a note or two. You’ll notice that I didn’t stop to correct every mistake I made during my demonstration. Why? Because I was focusing on keeping the music going. When you’re reading, it can be tempting to stop after every mistake and fix it, but you’re not really getting a sense of the piece that way. Sight-reading is about getting the big picture, not about perfection. If you go through the music slowly, stoping after every mistake, and correct everything, you’re missing out on the overall experience of the piece. That all comes later in practice.

If you want to get a feel for the music, you have to keep going forward. Even if it’s slow, even if it’s a little messy, just keep the rhythm and the feel moving. You can always go back and correct things later, but in the moment, it’s more important to keep the flow of the music. I often compare this to learning how to ride a bike. When you first try it without training wheels, it feels impossible. You wonder, “How will I stay up?” But with practice, you start to find your balance. Sight reading is similar—you have to trust that the more you stay connected to the rhythm and flow of the music, the easier it will get.

Why It’s Important to Keep Going

Whether you’re playing alone or accompanying someone, you have to keep going. If you stop every time you miss a note, you’ll never get a sense of how the music feels as a whole. Sure, you want to be accurate, but accuracy isn’t the primary goal in sight-reading. You also want to get the feel of the piece—the phrasing, the rhythm, and how the harmony fits together. I encourage you to try going through a piece without stopping, even if you’re playing slowly and making some mistakes. The point is not to fix every wrong note in the moment but to keep the music moving forward, which is essential when you are playing with other people. This is how you develop a good sense of the piece.

Sight Reading Is a Skill You Can Master!

So there you have it—the three secrets to becoming a better sight reader: what you see, what you hear, and what you feel. It’s all about combining these three elements. When you can do that, sight-reading becomes less about perfection and more about getting a feel for the music. I know it can be intimidating at first. You might think, “I can’t possibly play without looking at my hands.” But trust me, you can! Just like learning to ride a bike, it gets easier with practice. So go ahead—embrace these three secrets, and start working on your sight reading. You’ll be amazed at how much you can improve with time! Thank you for joining me here at LivingPianos.com, your online piano resource. I’m Robert Estrin. Looking forward to our next musical journey together. You can check out the accompanying video to see the demonstration.

Hello, everyone! Welcome to LivingPianos.com, I’m Robert Estrin. Today I’ve put together a very special presentation just for you. I quickly set up the lights, got the cameras rolling, and here I am, sitting down at this magnificent Steinway concert grand, excited to share something personal with you on this beautiful evening.

I truly hope you enjoy what’s to come.

Thank you for joining me here at LivingPianos.com, your online piano resource. I’m Robert Estrin. Looking forward to our next musical journey together. You can check out the accompanying video to see the performance.

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I want to share a personal story about the most challenging gig I’ve ever had. You might assume it was a demanding solo recital or a complex concerto performance, but surprisingly, it was an entirely different experience that tested me in unexpected ways.

The Unexpected Challenge: An Irish-Themed Party

Many years ago, I was hired to play at a St. Patrick’s Day party. The hosts requested Irish music, a genre I wasn’t particularly familiar with. To prepare, I purchased a comprehensive book of Irish songs to sight-read during the event. Upon arrival, I found the guests in high spirits, having already indulged in the festivities. I began with “Greensleeves,” a tune I assumed would be well-received.

Navigating Uncharted Musical Waters

Shortly after I started, a gentleman, clearly enjoying the celebration, approached me at the piano. He expressed dissatisfaction with my song choices, seeking more adventurous tunes. I offered him the songbook to select pieces he preferred, but he dismissed it, claiming none of the songs were suitable. Then came the unexpected twist: he decided to sing a song to me, expecting me to play it back from memory.

The Impromptu Performance

There I was, with a room full of guests anticipating the melody, and I had to rely solely on my memory of the gentleman’s rendition. This scenario repeated throughout the evening, with him introducing songs unfamiliar to me, each time expecting an immediate performance. It became an intense exercise in musical dictation, pushing my abilities to their limits. I was the only one in the room completely unfamiliar with all the songs!

Reflecting on the Experience

Despite the mental exhaustion, I managed to navigate the evening successfully, much to the guests’ delight. This experience stands out as the most challenging gig of my career, not because of technical difficulty, but due to the spontaneous demands placed upon me.

Share Your Stories

I’m curious to hear about your challenging gigs. Perhaps you’ve faced outdoor performances under unpredictable weather or dealt with unplayable instruments. Let’s share our experiences and learn from one another.

Thank you for joining me here at LivingPianos.com, your online piano resource. I’m Robert Estrin. Looking forward to our next musical journey together.

Welcome to Living Pianos! I’m Robert Estrin, and today we’re diving into a fundamental aspect of piano technique: the art of fingering.

The Core Challenge: 88 Keys, 10 Fingers

One of the most intriguing challenges pianists face is navigating 88 keys with just ten fingers. This brings us to a question from Dana, a follower who asked whether each piece has its own specific technique or if mastering scales, arpeggios, and chords suffices.

Hand Positions and Finger Patterns

If you’ve ever played wind instruments like the saxophone, clarinet, or flute, you know that each note corresponds to a specific fingering, with minimal variations. However, the piano is a different beast. While mastering scales, arpeggios, and chords provides a solid foundation, each new piece introduces unique technical and musical challenges that often boil down to one crucial element: fingering.

The Importance of Fingering

Fingering is the holy grail of piano technique. Observing concert pianists or studying meticulously fingered editions of music can offer invaluable insights. When I encounter a technical hurdle, I often consult multiple editions to explore different fingering suggestions. This approach helps in effectively navigating the 88 keys with our ten fingers.

Beyond Basic Techniques

So, can a basic technique alone enable you to play the piano effectively? Unfortunately, no. Even with a well-developed toolkit of scales, arpeggios, and other techniques, each piece presents its own set of challenges. For instance, as a French horn player, I found that while standard fingerings suffice for most notes, certain passages benefit from alternative fingerings to facilitate speed and ease. However, this is a relatively small challenge of playing the French horn. However, on the piano, mastering fingering in any piece is the most essential aspect of being able to play the piece on a high level, even if you have a solid grasp of fundamental techniques.

Conclusion

In essence, while foundational techniques are vital, the key to effective piano playing lies in mastering the specific fingering required for each piece. This approach allows you to tackle the unique challenges that every composition presents.

Thank you for joining me here at Living Pianos. I’m Robert Estrin, and I look forward to our next musical exploration together.

A viewer from the UK, Max, posed an intriguing question: Who are the three greatest living pianists? At first, I scoffed at the idea of narrowing down all the world’s extraordinary pianists to just three. Then I had a brainstorm and came up with criteria I think you’ll find fascinating.

For this list, I limited the focus to living classical concert pianists, even though pianists of other genres also deserve recognition. At the end, I reveal the three pianists I chose based on an interesting measure. But first, let’s gain some perspective on this thought-provoking subject.

Celebrating the World’s Greatest Living Pianists

Exploring the world’s greatest living pianists is a challenging yet rewarding endeavor. While ranking them definitively is impossible, several pianists have made extraordinary contributions to classical music. Here’s an overview of some of these exceptional artists:

In this video, we uncover three peculiar design differences between Asian and American pianos that might just leave you scratching your head. From unexpected keyboard heights to puzzling bench sizes, these quirks challenge conventional expectations. Join us as we delve into these intriguing mysteries and seek answers to questions that have baffled pianists worldwide.

Pianos are fascinating instruments, and some design differences can leave even seasoned players scratching their heads. Let’s dive into a few intriguing quirks between Asian and American pianos that might surprise you.

1. Keyboard Height: A Lift in Asian Pianos

Ever struggled to fit your legs comfortably under a piano? Interestingly, Asian pianos often have keyboards set slightly higher off the ground than American models. You’d think there’d be a standard height, right? But no, this variation exists, and the reason remains a bit of a mystery.

2. Bench Heights: The Lowdown

Adding to the puzzle, the benches that come with Asian pianos are generally lower than those paired with American pianos. So, higher keyboards but lower benches—what’s up with that? Considering that people in Asian countries are often of smaller stature compared to Americans and Europeans, this design choice seems counterintuitive.

3. Key Lengths: A Stretchy Situation

Here’s another subtle difference: the keys on Asian pianos are slightly longer than those on American pianos. Pianists with larger hands might find themselves accidentally hitting the fallboard when switching from, say, a Yamaha (an Asian brand) to a Steinway (an American brand). Some older pianos even have shorter keys than the current American standard.

Seeking Your Insights

These quirks—the elevated keyboards, lower benches, and longer keys in Asian pianos—raise some curious questions about piano design standards. Why do these differences exist? If you have any theories or insights, we’d love to hear them! Share your thoughts in the comments below.

At LivingPianos.com, we’re all about exploring the unique aspects of pianos and sharing that journey with you. Thanks for joining us, and we look forward to your input!

—Robert Estrin

When practicing the piano, it’s easy to get hung up on mistakes. However, shifting your focus to corrections can make a significant difference. Instead of dwelling on errors, concentrate on what needs to be done right!

Mindset Matters

Our thoughts have a powerful impact on our actions. If you’re constantly worried about messing up during a performance, that anxiety can become a self-fulfilling prophecy. On the other hand, focusing on playing well and enjoying the music can lead to a more confident and successful performance.

Making Corrections

When you hit a wrong note, don’t beat yourself up. Instead, identify the correct note and understand its place in the piece. This approach helps reinforce the right information and prevents the same mistake from happening again.

Beyond the Piano

This way of thinking isn’t just for music; it applies to everyday life too. By focusing on positive actions and outcomes, you can develop better habits and make more constructive choices. Remember: You believe what you say to yourself, so take care to reinforce what you really want with your self-talk

Wrapping Up

Remember, you have control over your thoughts. It’s one of the only true freedoms you have in life. By concentrating on corrections and positive outcomes, you can improve both your piano playing and your life itself.