Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com. Today’s question is “Why is it So Hard to Sight-Read Ragtime Music?” Ragtime music is so much fun to listen to and it’s fun to play as well. But it’s extraordinarily difficult to sight-read! And you might wonder why. To give you an example as to why it is so difficult to sight-read ragtime music, I’m going to compare it to something that is as far removed from ragtime as you can get, which is Bach.

Baroque era music can be played without your hands jumping around the keyboard.

Even though the music is complex, you don’t need to look at your hands because it’s all right there under your fingers. The hands don’t leap around like they do in ragtime. Music which has octaves alternating with chords in the left hand, which is very typical of ragtime music, is all but impossible to play without looking at your hands. So if you’re reading the score, how do you look at your hands and the score? It can be maddening! There’s a lot of music that falls into that category where you just need to look at your hands to handle the leaps. But here’s the good news: if you go to the trouble of memorizing ragtime, it’s not particularly difficult to play! There’s a certain technique that’s required. It’s the same technique utilized in pieces of Liszt, such as the end of his 6th Hungarian Rhapsody. The left hand goes all over the place!

Leaping back and forth from octaves to chords makes sight-reading nearly impossible.

That’s why ragtime or any music that has fast leaps is extraordinarily difficult to read. Even some relatively simple accompaniments, like some works by Fritz Kreisler. They’re absolutely glorious works and they have very simple piano parts. But the left hand has leaps in several sections making it very hard to read. There are two ways you can approach this. One way is to have the score memorized. The other way is to work on practicing those leaps without looking. I love to be well prepared when I have an accompaniment like that so I can either choose to look down at the hands or follow the score. I like to practice keeping my eyes on the score and get it to the point where I can do it just by feel. Now think about this. There are some sensational blind pianists out there. So, it is possible to be able to sight-read music that has leaps, but it’s extraordinarily difficult.

Thanks so much for joining me. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. See you next time!

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Hi, I’m Robert Estrin. This is LivingPianos.com. Today the subject is “How Richard Wagner Led To Atonality In Music.” If you’re familiar with Wagner’s music, you might be thinking of Ride of the Valkyrie, the Meistersingers, and so much more. It’s as tonal as you can get! So what am I talking about? How could Wagner be associated with atonality?

As counterintuitive as it may seem, it’s a fact that the whole trajectory of music in the late 19th century with Wagner and then Richard Strauss into the 20th century, tonality had constantly shifting key centers. It modulated so often that there was total ambiguity as to what the final notes should be. Usually, you hear a piece and you know where it should end! Not so with Wagner. Certainly in later Wagner, like in Tristan and Isolde. Listen to the main theme. You’ll hear how there’s no key center, even though it’s tonal. Listen to this and you’ll see what I’m talking about. The implications that this brings to music are profound. But what do gorgeous, rich harmonies like those have to do with atonality? Well, If you have more and more shifting key centers, eventually you don’t even have a center of pitch anymore. And that’s exactly what happened.

The 12-tone system

Arnold Schoenberg, another great German composer, is credited with inventing the 12-tone system. That’s where instead of basing a composition on major or minor scales and chords, a tone row was created, putting all of the 12 possible notes in a specific order referred to as a, “tone row”. The whole idea of a tone row is to methodically avoid any kind of preference for any one note over any other note. They are all equal. Whereas in tonal music, there is a pull to certain active tones which must resolve to resting tones. The whole idea of tonality is, some tones are resolved and others must be resolved, not so with atonality.

Wagner pushed the boundaries so far that there was nowhere else to go other than the complete disintegration of tonality.

Listen to early Arnold Schoenberg, for example, his First Chamber Symphony, and you’re going to hear rich, lush, late romantic tonal music that is evocative of Wagner or post-Wagner. And so, Schoenberg himself finally broke through and just eliminated tonality from his music and then Berg and Webern followed suit. That led to a whole other style of atonal music, which truth be known, can be extremely difficult to listen to because the harmonies clash instead of blending. It takes a sophisticated listener to be able to decipher what you’re even hearing because the intervals are not very closely related. You know when you play a fifth, those are related in the overtone series. That’s a subject a little bit too deep for me to get into in this video, but the fact of the matter is, when you have a random arrangement of the 12 tones, you’re going to have music that is generally much more harsh. Which is great for certain styles of music. And I particularly like it when composers utilize elements of atonality in their music. It doesn’t necessarily mean that the entire piece has to be atonal. It’s a tool like anything else, and it can be used to craft wonderful music.

I hope this has been interesting for you. I’d love to hear your comments about this! And any of you who have different perspectives on this, I welcome them in the comments and you’re always welcome to contact us at info@livingpianos.com, We really appreciate bringing these to you and there’s lots more to come.

Thanks so much for joining me. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. See you next time!

Hi, I’m Robert Estrin and this is LivingPianos.com. Today’s question is, “Should You Lock Your Piano?” You might notice that some pianos have little keyholes on them. Oftentimes, when we sell restored vintage pianos, people ask if we have the key. I’m not talking about the 88 keys you play, but they want the key for the lock! So the question is, should you lock your piano?

Will locking your piano protect it against vandals?

You might think that there are some times when it would be really important to lock your piano. For example, let’s say you have a piano in a school or a church and you’re worried that people will abuse the instrument, so you want to lock it to prevent any damage. Well, the fact of the matter is, the locks that are built into pianos are not very robust and they’re easily jimmied open. So it doesn’t adequately protect your piano in a situation like that. What about at home?

Will children damage a piano left unlocked?

Maybe you have kids banging on your piano and you think they’re going to damage the instrument. But kids, even if they use their fists, are not going to damage a piano! When a concert pianist is playing, the energy they exert is much greater than a child is capable of even with their fists. Children are not going to damage your piano by doing that. (Just make sure they don’t approach your piano with any metal objects.) So locking your piano for that reason is pointless. Now there might be one good reason to lock your piano.

Locking your piano keeps people from playing it.

If the sound of your kids banging on your piano is driving you nuts and you can’t get them to use their fingers on the piano appropriately, then maybe there’s a good reason to lock it. Otherwise, I think pianos should be open for people to play. I can’t tell you how frustrating it is for me if I find a piano somewhere and it’s locked. I am always heartbroken. I think pianos are meant to be played!

How do all of you feel about this. Do you lock your piano? You can leave your comments and we can discuss further about this.

Thanks so much for joining me. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. See you next time!

info@LivingPianos.com
949-244-3729

This performance video was at Riverside Community College. I have performed the Living Piano show across the state at colleges, universities, art centers, conventions, with symphony orchestra, and even a Living Piano cruise! You can explore more about this here: https://www.youtube.com/playlist?list=PLC9F55F8E11E5FBDE

I’m Robert Estrin here at LivingPianos.com with a question for you: “Is Classical Music Relaxing?” I can’t tell you how many times I’ve asked somebody if they listen to classical music and they respond, “I love classical music. It’s so relaxing.” There certainly are pieces that are relaxing, such as Clair de Lune by Debussy. But you know what? That is just one side of the spectrum of emotions that classical music explores. You certainly wouldn’t consider the Scriabin Etude in D-sharp minor from the Opus eight to be relaxing. That’s anything but relaxing!

Classical music explores the entire spectrum of emotions

Classical music can be humorous or angry or melancholy. There’s a tremendous range of emotions in classical music, and if you think that it’s just relaxing, you’re missing the whole point. Just like literature isn’t all relaxing, some of it is agitating, some of it can be profound, enlightening. There’s a whole range of emotions that classical music and other styles of music explore.

Not all classical music is meant to be relaxing

So is classical music relaxing? The real answer is yes, sometimes. Certainly some classical music is relaxing, like the first movement of the Moonlight Sonata. But music is not always meant to be relaxing. Thanks so much for joining me. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. See you next time!

info@LivingPianos.com
949-244-3729

I’m Robert Estrin. This is LivingPianos.com. Today I’m going to tell you about the man who could sight-read anything on the piano. Now that seems like a bold claim, so let me back up a bit and give you some perspective on this.

My father, Morton Estrin, would sight read anything, anytime, with anyone. For example, I remember once we were visiting my uncle Harvey Estrin. Harvey was a top-line studio musician in New York City, a woodwind man who played on many film scores, commercials, the ABC orchestra, and much more. His wife, Trudy Kane, was the principal flutist in the Metropolitan Opera Orchestra. We had a social visit, and Trudy handed my father the score of a piece he’d never even heard before. I believe it was the Reinecke Flute Sonata for flute and piano. Indeed, my father and Trudy played this together, and it was a beautiful performance – right at sight! I was amazed at the cohesiveness of the performance, and that he could sight read with that level of musicianship.

However, there are always limits, aren’t there?

I actually majored in both piano and French horn at the Manhattan School of Music. I played French horn from the time I was in fourth grade. My father was kind enough to accompany me whenever I’d ask him. As a matter of fact, I probably pushed that a little harder than I should have in retrospect, because he was very busy between his performing and teaching, but he was so gracious about it.

If any of you pianists out there have ever accompanied concertos, you probably know that many of them are incredibly awkward. For example, the Strauss Second Horn Concerto has so much going on in the orchestral writing, that if you look at the score, the piano reduction is filled with little notes in the orchestra part that you can’t possibly play on the piano. There aren’t enough fingers in the hands!

Sometimes there are other problems. A good example of this is, the Telemann Horn Concerto. Telemann is credited with composing more music than any other composer who ever lived, so this is a rather obscure work, except maybe to French hornists! My father was kind enough to accompany me on this. In fact, I still have the music to that piece, and in looking at the score, I can see that he wrote in fingering. So, he practiced this piece. The orchestra part has repeated 16th notes in the right hand. Repeated notes on the strings is easy. The bow goes back and forth. On the piano, it’s not so easy. You can see why my father wrote in fingerings for this.

The man who could sight-read anything is the great pianist John Ogdon.

John Ogden won the Tchaikovsky International Piano Competition the same year Vladimir Ashkenazy won it. They tied for first place. John Ogdon had an illustrious career. His recordings of the Brahms Concertos, his Liszt recordings (and more) reveal spectacular playing! I was fortunate enough to study with him during my time at Indiana University

It came to our attention, all of us who studied with him at Indiana University, that he could sight-read anything. So, we would come into lessons and put scores in front of him. It seemed like there was nothing he couldn’t read! But, I wondered if maybe he knew the pieces.

One day he invited me to his home and he told me to bring my horn; he’d accompany me.

I couldn’t believe it! I brought a stack of music. And just for fun, I brought that Telemann Concerto with that impossible piano part. What I haven’t told you yet is that as hard as the repeated 16th notes in the right hand are, underneath those were eighth notes in the right hand. So every other note, you’ve got a note underneath it in the tenor line, and that’s just the right hand! My father didn’t even bother trying to play those other notes. And he had practiced to the point of writing in fingerings just to be able to negotiate the repeated notes!

I put the score in front of John Ogdon. He said, “I’ve never seen this.” And I said, “Well, it goes kind of fast.” He sailed into it even faster than I played it and nailed it perfectly. He didn’t leave out any notes! If I hadn’t seen this with my own eyes and heard it with my own ears, I would tell anyone that this is absolutely impossible. But yet, John Ogdon could read anything.

That is my story about John Ogden’s incredible sight-reading ability. I hope that you’ve enjoyed this story – and there’s lots more videos coming your way. Thanks for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Store.

info@LivingPianos.com
949-244-3729

Welcome to LivingPianos.com. I’m Robert Estrin and today I’m going to share my personal story of meeting the great pianist, Arthur Rubinstein! I’ve been very fortunate in my life to have heard many great concert pianists over the years. Beginning with my father, Morton Estrin. A great concert pianist right in my home! His studio where he did most of his teaching was in our home. So I got to hear so many great students of his and the piano was a big part of our household. I have heard a lot of great pianists in my life. One such pianist is Vladimir Horowitz.

The first time I heard Horowitz is quite a story in itself.

Horowitz was making one of his famous comebacks. He would take time off from performing so when he came back to the concert stage, it was always a major event. He was performing at the Metropolitan Opera House in Lincoln Center. It was limited to two tickets per person and we knew it was going to sell out quickly. I was attending the Manhattan School of Music at the time. Some other students and I decided to camp out overnight at Lincoln Center. We got there at about 8:30 the night before, tickets didn’t go on sale until the next morning around 6:00 or 7:00. And I was number 311 in line already!

Interestingly, I had a brief encounter with Vladimir Horowitz and Mrs Horowitz, who came by at about 2:30 in the morning with coffee and donuts for everyone in line. I thought that was really classy. A couple months later he was performing at Carnegie Hall. My teacher Constance Keane was really good friends with the Horowitz’s and was able to get me tickets, as many as I wanted. And I had box seats! So that was a lot easier.

Meeting Arthur Rubinstein

Rubinstein on his 80th birthday gave a concert and our family went. And it was an incredible experience. Even though I was just a kid, I was captivated by the beauty of the tone. It was an amazing experience. After the performance my family decided to go backstage to say something to the great Rubinstein. I was young, but I wasn’t so young. I’m actually a little embarrassed to admit how old I was. I was trying to think about what to say to this legendary pianist. But in the moment, all that came out of me was “You must be a very busy man.” To this day my family still mocks me a little bit for that.

So my advice to any of you, if you’re going to meet a great artist of any sort, think in advance what you might say to them. If I could only turn the clock back, I think of all the things I could have asked the great Arthur Rubinstein. I hope that you’ve enjoyed this story – and there’s lots more videos coming your way. Thanks for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Store.

info@LivingPianos.com
949-244-3729