Piano Lessons- Music Theory Lessons

How to Buy a Piano:

– Check strings for rust particularly at the pins and hitch pins.

– Play the keys going down to the low notes. If you notice a change of tone of the copper wound strings compared to the steel strings, this can indicate problems.

– Check the soundboard by climbing under the piano or the back of an upright. If there are cracks you can see through this can be a problem. Hairline cracks are a normal part of the aging process in most parts of the country. Make sure the ribs are not detached from the soundboard at all. You can try to wedge a business card between the ribs and the soundboard to see if they are firmly attached.

– Wiggle the keys to see if the felt bushings cushion the keys. If you hear clicking, this indicates a worn action.

– Look at the hammers particularly in the treble section to see if there is much felt left. If the hammers are heavily grooved and flattened, they can be reshaped through filing provided there is enough felt to work with.

– If the piano is wildly out of tune, find notes that are particularly bad. Pluck the 3 strings of the note while holding the key down to hear which one is lowest. If you find other notes with strings that have dropped in pitch, see if they form a straight line at the pins. This could indicate cracks in the pin block which requires rebuilding of the piano.

This is a really interesting question. Sometimes you will see E sharps or C flats written in music and you might wonder why they just don’t write F or B instead – after all, an E sharp is an F and a C flat is a B on a piano. So why add this level of complexity?

Let’s start by exploring the foundations of Western Music. For most of us the music we are familiar with is founded upon the principles in Western Music. Everything from Rock to Pop to Symphonies utilizes the same aspects of being built upon scales.

What are scales exactly? Musical Scales are a series of whole steps and half steps that have all the notes (letter names) in order. For example, here is a C major scale:

When you see these string of notes together you should recognize that they are Diatonic, which means they are all built on the interval of a second. In other words, one letter to the next letter, line to space, space to line consecutively.

For more information on scales we have a series of in-depth videos on this topic:

This is probably one of the most fiercely debated topics regarding Steinway pianos. There is a ton of misinformation online as well as varying degrees of opinions. Not everyone is going to agree on this topic, but I will share my perspective from a lifetime with Steinway pianos. So let’s dive right into this hotly contested debate, is Teflon on Steinway Pianos bad?

In 1972 Steinway & Sons was sold to CBS and they owned the company until 1985. At some time during this period in Steinway’s history, the felt parts of the action were replaced with Teflon. Eventually, they abandoned this practice and went back to felt – not without some public outcry. Today, some people will see older Steinway pianos with Teflon and become adamant about replacing it, but is it really such a big problem?

There is no simple yes or no answer to this question. Teflon has many different characteristics then felt and one of the reasons Steinway decided to use it was that it is much more durable and robust then felt. One of the big problems Steinway ran into with Teflon is that many technicians didn’t know how to work with it. The vast majority of the world’s actions were built with felt and replacing it with a new material created some confusion. Unless a technician is familiar with Steinway Teflon actions, they might not be able to adjust it properly.

If you have a Steinway piano with Teflon in it and it’s in good shape, all you need is a good technician who can maintain it. There is really no reason to replace the Teflon if you have no problems. Now, there are cases where you will have to replace Teflon.

Teflon does cause some unwanted problems and if you are experiencing any of these you will need to get it replaced. Telfon is rigid but wood is susceptible to expanding and contracting with the weather. If you put a Steinway piano with Teflon in an extreme environment with wild swings in temperature – from dry to humid and from hot to cold – it’s possible the wood could crack. This can cause unwanted noises that could be created by the spaces between the Teflon bushings and the wood. This is what gave Teflon a very bad reputation; it’s not made for extreme environments.

If you live in a stable environment, you probably won’t have any negative issues with Teflon You will probably be fine as long as you have a properly trained technician.

If you feel that you want to replace the Teflon in your action, you can. If you have any concerns or qualms about it and you have the money, you should simply do what makes you happy. Does it need to be replaced? Unless you live in an extreme environment, the Teflon is old, or you can’t find the right technician, probably not. I personally don’t have any problems with Teflon parts but that’s my opinion and I’m sure there are plenty of varying viewpoints.

How To Practice the Piano

3 Part Series

There are 3 separate skills in learning to play the piano:

• Memorizing

• Sight Reading

• Improvising

You can become quite proficient in one or two of these skills and be completely deficient in others. It is necessary to take a unique approach to develop each of these skills. The biggest mistake you can make is to not be clear as to which skill you are working on!

5 Steps To Memorizing Music

Sight-read through the piece once or twice. (First Day Only)

Begin To Practice: TAKE A SMALL SECTION AT A TIME.

A. Right Hand Alone Figure out:

1. Notes

2. Rhythm-Count out loud

3. Fingering

4. Phrasing

5. Expression

Play many times until memorized.

B. Left Hand Alone Figure out:

1. Notes

2. Rhythm-Count out loud

3. Fingering

4. Phrasing

5. Expression

Play many times until memorized.

C. Hands Together Slowly at First:

Play many times until memorized.

D. Go on to the next small section and learn it the same way.

E. As each section is mastered, connect from the beginning

When you hear your favorite singer, you know who it is instantly by the voice. Even listening to wind players and string players, you often can identify the player by the tone. What about piano? Can you tell who is playing just from the sound they get? The answer is, yes, sometimes.

The secret to getting a great tone out of a piano (or a more pleasing tone out of a lesser instrument) is to support the tone like a singer or wind player supports the phrase with the breath using the diaphragm. String players utilize the bow for a smooth line and spend years developing a technique to get a beautiful sound. So what is the analog to the breath on the piano?

A phrase generally has a rise and fall, just like a breath. If you were to calculate each note of a phrase played on the piano to make each note successively louder to the peak then each note softer than the next to the end of the phrase, you would end up with a very calculated type of playing! The secret is to use a constant weight of the arm which grows to the top of the phrase and diminishes to the end of the phrase. The fingers support the weight and transfers the weight smoothly from note to note. So you exert downward pressure on the key not just on the attack, but throughout the length of the note. This enables you to get a smooth line by using the weight of the arm as the constant like the breath of a singer.

When playing large chords loudly, you can get a beautiful sound by playing from the surface of the keys. If you strike from above with the arms, this creates a slapping sound which is harsh and ugly. By staying in contact with the key and releasing energy to the bottom of the key bed with strength, you will get a beautiful sound no matter how much energy you expend. Try this in these 2 different methods and listen to the difference in the sound. You will be amazed.

Time management is one of the most difficult things facing all of us and it doesn’t get any easier as we age. Finding time to pursue your passion – such as playing music – can be a real challenge and with our daily routines, it can seem almost impossible. I can’t make more time for you but I can provide some tips on how to find and schedule a time to practice your music.

Many people assume that because I am a professional that I must have all the time in the world to practice since it’s my career. Yet it is a constant challenge not just for me but for other professionals.

Likewise, I have a student who just entered the Manhattan School of Music on a scholarship and you would think that because he is at a music conservatory he would have plenty of time to practice; this is not the case even there!

Finding time to practice music is a challenge for everyone. Whether you are a professional, a student, or just a hobbyist; this is a challenge that everyone faces.

Setting a routine for yourself is going to be one of the best ways to schedule out a portion of your day and commit to practicing. If you force yourself to practice at a certain time and schedule your day around if you are much less likely to skip it. You must be strict with yourself and not let distractions get in the way if it’s time to practice you should practice! If you do this enough it will become a part of your day and if you miss it you will feel like you have missed a major part of your life. If practice is important to you then this is something you must do.

Use extra time for practicing – even if it’s only a few minutes. Maybe you have an appointment or a student and they are running late, use those extra few minutes to sit down at your piano and practice. It’s ok if it’s only five or ten minutes, practice is practice and every little bit can help. If you are near your instrument and have a few extra minutes you should definitely try and practice. Put down the smartphone or tablet or turn off the TV and just practice; you’ll be glad you spent those few minutes productively.

There was a time when all pianos had ivory key tops.

By the middle of the 20th century, the use of plastic key tops began to replace ivory keys in a big way. Laws protecting elephants made ivory keys extremely rare in pianos built after the early 1970’s.

No pianos have ivory keys.

The keys of all pianos are made out of wood. It is only the thin top of the white keys which are made of ivory or plastic. The black keys are made of ebony. However, most Asian production pianos have plastic black keys. In this case, the entire key is made out of plastic and is hollow on the inside.

Growing up, my father had 2 grand pianos in his studio, an old Steinway with ivories, and a newer Baldwin with plastic key tops. I found the ivory to be slippery and the plastic offered a better grip on the keys. However, when I would perform in student recitals, it was quite the reverse. With a bit of nerves, the sweat in my hands made the plastic key tops slippery and the grip on the ivory much better.

Ivory key tops are porous.

So cleaning is more difficult than cleaning plastic key tops which can be cleaned with a high concentration rubbing alcohol; 90% or higher works best. You can use a soft cloth, paper towel, or cotton swabs made damp with the alcohol. Rub all the keys, black and white and you will be amazed at how much dirt comes off the keys. The high concentration of alcohol assures that the moisture will not compromise the integrity of the wooden keys. Ivory keys present a greater challenge. While cleaning with alcohol as above will work, in time it can dry out the ivory and cause warping. So it is best to use a slightly damp cloth with only water and use alcohol only when needed to remove persistent stains.

Ivory keys also will yellow in time.

You can help them keep white by not closing the fall board. While it is important to close the lid of the piano when not in use to avoid corrosion of the strings, the fall board only protects dust from settling on the keys which can be wiped off easily. If ivory key tops get too dirty or yellow, they can be polished and bleached. If a few are chipped or missing, some piano technicians have a large stock of replacements. This is no easy task since matching the exact size, color and texture of ivories is very challenging. Replacing key tops altogether with modern composite plastic key tops is not very expensive, 2 or 3 hundred dollars. Usually when doing this it is a good time to replace key bushings and front rail bushings which wear out. That can add another couple of hundred dollars.

So the question is…

which is better, ivory or plastic key tops?

I have run into many people who have a strong preference for one or the other. Many people prefer the mystique of real ivories on a beautifully restored vintage piano. Other people are horrified by the sacrifice of the animals to produce the ivory. Overall I would suggest if you have a piano with usable ivories, keep them in good shape as long as you can since they are nearly irreplaceable. A set of ivories can be procured but a set costs thousands of dollars. Keep in mind however that if you went out and bought a brand new Steinway grand piano, it would have plastic key tops. Functionally they are very close. Perhaps the texture of a good set of ivories gives a better grip particularly with sweaty hands. Otherwise it is not one of the more important considerations for a piano’s quality.

This is a really interesting question. We have music from centuries ago so it might be easy to think that we pretty much have all the music there must have been created in human civilization (or at least close to it) but this is far from the truth.

For most of history music was not written down. We really have no idea what people played in antiquity – which is really a shame to never be able to know what songs they sang or what beats they played.

Music was actually written down as far back as the 6th Century B.C. in ancient Greece and Rome. The writing in this time was a bit more of a reminder on how to sing the songs rather than precise notation but it was certainly the beginning of writing down music in a digestible form.

The modern system of music notation had its roots in the 11th Century which grew from Gregorian Chants or Plainsong in the church. This is a process of taking liturgical text and singing it. To remind people of how the song is supposed to be sung – the sections where it goes up or down or certain embellishes – there would be squiggly lines and other ornamentations added to the text to direct the singers.

Eventually Guido d’Arezzo decided to draw a single line to make a reference for pitch. Notes would be drawn above and below the line to designate higher or lower pitches. This system was eventually refined and evolved into a more modern system which contained four lines.

If you have the chance you should really check out what notation for Gregorian Chants looks like. It’s very evocative of modern notation but not quite there; there are no bar lines or rhythmic accuracy like we have in today’s notation.

It wasn’t until the end of the 17th century that modern notation began to flourish.

You may not have heard the term Minimalism but you have certainly heard the music. This is a recent evolution in music and it is featured in countless film scores. Today we are going to discuss aspects of minimalism and what separates it from different musical styles.

There have been a number of cycles throughout music history. Over time, musical forms become more complex and eventually reach a point where they collapse upon themselves. By the end of Johann Sebastian Bach’s lifetime, Baroque music had become so complex that it literally broke down and ushered in the Classical era of music with its well structured forms. This is not the only time this has occurred in history and sure enough this similar pattern is found throughout musical eras.

The Romantic period following the Classical period shared many forms. However, the structures were expanded as was the orchestra and the length of works. Harmonies and modulation of keys in the music of Wagner, Richard Strauss and others led to the breakdown of tonality with composers such as Arnold Schoenberg and Anton Webern abandoning tonality completely and ushering in the 12 tone system of composition which is not based upon major and minor scales at all!

Eventually in the 20th century we had another breakdown in music which ushered in minimalism. This form of music took incredibly complex music and broke it down into simple patterns and textures that interweave in new and complex ways. In the video provided with this article I play an excerpt from Orphee Suite for Piano by Phillip Glass to give you an idea of what minimalist music can sound like.