Piano Lessons- Music Theory Lessons

This is a great topic because it applies to so many different types of music. Voice Leadings refer to how each note of a chord resolves to the next chord. This is something found in every type of music you could imagine, from jazz to classical and to the early days of choral writing. While this all might sound confusing now, voice leadings are actually a very simple subject.

If you take the notes of a scale and number them 1, 2, 3, 4, 5, 6, 7 and 8 (being the octave), which in C major would be C, D, E, F, G, A B, C, the formula is this:

– 2 goes down to 1
– 4 goes down to 3
– 6 goes down to 5 and
– 7 goes up to 8 (or down to 5 for better resolution in some cases)

This is true for both major and minor keys.

As for accidentals, raised notes go up, and lowered tones resolve down. So in C major, sharps resolve up and flats resolve down. In keys with sharps or flats, naturals may alter tones up or down depending upon context. But it works exactly the same way. So for example in F major which has a B-flat in the key signature, if you had a B natural, it would resolve up to C!

That’s basically the essence of how voices resolve! Active tones resolve to restive tones. 1, 3, 5, and 8 are the restive tones and the active tones must resolve according to the simple guidelines described above in order to sound fluid. You will find these truths evident in music of all periods to be rather pervasive.

This is a wonderful selection of movements that is a great choice for piano students just progressing past the intermediate level. I’m going to provide a few tips for you on how to get the best performance of these pieces of music.

Many of Schumann’s works are reflective of his life and he would constantly create multi-part pieces. What’s great about these pieces is that even though they are accessible to slightly above intermediate students, they still contain a great depth of expression.

I’m going to start from the first movement, Of Strange Lands and People. If you have a chance to watch the embedded video I highly recommend it. In the first section you have an almost choral sound to the music – except the inner voices (the notes under the melody) are staggered in triplets. The best thing to do is recognize what the harmonies are and the best way to figure this out is by breaking the music into chords.

This is a good technique for any new piece you are approaching and it allows you to flesh out the music and get a better grasp of what you are playing and the underlying structure of it. Don’t be discouraged if you can’t reach all the chords, this is not what it’s about. By doing this you will be able to both understand the harmony and structure of the piece as well as figure out the best fingering to use. In the video embedded with this article I break down this concept into great detail.

Once you have learned the harmony and figured out the best fingering by breaking the piece into chords it’s time to work on the melody. Bringing out the melody is something absolutely crucial in mastering your music. You don’t want all the notes to blend in together, you want the melody to rise above the harmony and sing.

You can play the melody legato and the accompanying triplets with staccato fingers to clarify the melody line in your hands. Once you have achieved this, you will be able to bring out the melody easily.

This might sound crazy and even a little depressing but it’s true and a topic worth discussing. You would think having a tuner come in and tune your piano would be enough, it should be in tune right? But is it really?

The short answer is no, your piano will never be perfectly in tune. If you look back in history and at other instruments this concept is easier to understand. When it comes to singing, pitches come completely from your head, just like when a violinist plays there are no frets for them to make the exact notes and the pitches are constantly changing; this is even true of guitars where a string can bend to affect the pitch of note.

There was a period in time in when keyboards were tuned to specific keys. So, if the keyboard was tuned to D major, it was perfectly in tune in D major. It would sound O.K. in A major and possibly G major, but would sound atrocious in A-flat major or D-flat major. Eventually tuners created a system in which all the half steps are equal so that all keys are equally out of tune!

When a piano tuner tunes your piano the first thing they do is set the temperament. The temperament is taking an octave and making all the half steps equal. This means that when you play any interval other than an octave on the piano, they are all equally out of tune. So if you play a perfect 4th, 3rd, or any other pair of notes, they will all be perfectly out of tune with each other. We have gotten so used to tempered tuning that we don’t even notice it’s out of tune. However, if a string player tries to match pitch with a piano they will have to make adjustments to play in tune.

Believe it or not this gets even more complex. Stretch octaves are something that goes beyond the idea of tempered tuning. Our ears actually hear flat in the high register so to compensate for this a tuner will stretch the tuning a bit higher in the high register so it sounds right to our ears even though it is not mathematically perfect.

To keep it simple, always remember that when your piano is tuned, the tuner is striving for the perfect compromise. It’s a crazy concept but it’s true. Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729

There are many aspects of Mozart’s writing that are truly brilliant. Today we are going to bring up just one point which is something I’m sure you’ve heard but you may not be familiar with the term; it’s called “alberti bass”. What is alberti bass?

To demonstrate, I play the famous Mozart C major Sonata K. 545 playing the left hand in chords first. Then I will show you some variations and finally end up with the alberti bass as Mozart composed the piece. As soon as you hear it, you’ll instantly recognize it as something you hear all the time in Mozart’s piano music.

There are several embellishments you can try such as alternating between the bass note and the top two notes of each chord. Mozart takes it one step further alternating notes within the chord. When you hear this iconic sound, you’ll recognize it because you hear it in almost every piece Mozart wrote for the piano!

There are hundreds of examples of alberti bass in not only Mozart’s music, but it’s also a common technique of other classical composers such as Haydn and Beethoven. I hope this has been enjoyable for you! Again, this is Robert Estrin as Living Pianos. Robert@LivingPianos.com

Here is a clip from a past performance of Robert and Florence Estrin as they perform Ave Maria from the Irvine Classical music Series

This is a topic that is very important to anyone wanting to develop a refined technique on the piano. It is very important to practice the piano without using the pedal – the pedal should be something that enhances your music and not simply a crutch for making mediocre playing sound better.

Pedals on the piano are actually a modern development. When the piano was fist invented it didn’t have pedals, so connecting notes had to be accomplished with the fingers. Believe it or not, Johannes Brahms didn’t even have a sustain pedal on his practice piano!

The sustain pedal does just as its name implies – it holds (sustains) all the notes. When you hold the pedal down, the dampers stay hovering over the strings, when you release the pedal the dampers fall back onto the strings and dampen the sound.

The pedal is not just a tool for connecting notes; it’s capable of adding expressive elements to your music. The real challenge of the pedal is knowing when and how to use it. The only way to accomplish this is to practice your music without the pedal.

In the video included with this article I demonstrate how depending upon the pedal to connect notes instead of using your fingers can lead to sloppy playing and bad technique. But how can you avoid this?

The secret to connecting notes without the pedal is to develop a legato technique with both hands – not just with the melody but even repeated chords in the left hand. But why is this important?

If you can learn how to connect your notes just using your hands, you will be able to use the pedal to enhance your music tonally and make your melodies sing – you will find the best fingerings for passages, and rely on the pedal not as a crutch, and most of all, you will improve as a pianist.

Many people ask me, can you learn to play by ear or is it something you’re born with? I personally believe that everyone can improve their ability to play by ear. Some people just have an innate sense that allows them to play by ear without much effort, while others will have to work harder at it; the bottom line is, anyone can learn to do it.

Now there are limits to what you can achieve. If you’re tone deaf you probably won’t get to a level where you can transcribe Charlie Parker solos but you can definitely train your ear and improve.