Piano Lessons- Music Theory Lessons

This is a term you may or may not be familiar with. The plagal cadence is a IV chord resolving to a I chord at the end of a piece. Why is this significant? Typically the end of a piece has a V – I or V7 – I cadence.

So why is the plagal cadence important and how can you use it in your music? It is a certain tool you can use to add a fresh color to the end of a piece. I highly recommend you listen to the accompanying video to this article to understand the function of a plagal cadence. Ultimately, the sound is what sets it apart.

A classic example of a plagal cadence is the “Amen” in a church service. Once you hear it, you will always remember it!

Somebody asked me this question the other day and I was very confused – I wondered what they could be talking about. But once he explained the questions I began to understand that it actually made a lot of sense.

C is the starting note for most pieces you start with on the piano and a C major scale is played by playing all the white keys consecutively on the piano. You’d think that because this is the basic foundation of music that the note would be called A and you would then name the other notes accordingly.

Upon thinking about this I began to understand why things evolved this way and why C is the way it is. To understand this concept you’ll have to go way back into time before minor and major tonality was entrenched into Western music.

Originally, music was built on modes. Modes can be started on any of the white keys (and can be transposed to other keys with sharps or flats). For example, the notes from D to D diatonically is the Dorian mode and the Aeolian Mode is from A to A.

The ionian mode, which is the major scale, was not very popular at the time. If you listen to Renaissance music, you will rarely hear something written in the major. At the same time, the minor modes were very popular and the aeolian mode was one of the most popular. This might explain why A is the starting note!

If anybody has different information about this or another explanation I would be glad to hear it. These are my personal thoughts and conjecture based on my knowledge of music and it’s history. I would love to hear anyone else’s thoughts on why C is not called A.

This seems obvious enough. What would you be doing on stage if you weren’t engaged enough to give a performance? This topic has profound implications.

I remember when I was going to the Manhattan School of Music and I attended many concerts at Lincoln Center and Carnegie Hall. I would hear many emerging pianists and while most played brilliantly, sometimes I would find my mind wandering during some performances. I began to wonder if there was something wrong with me until I noticed that often times, there would be a memory slip by the artist just at the point that I would lose my attention. I began to understand what the real problem was.

The performer would become disengaged from their performance and it would cause them to have a momentary memory lapse. Beyond their mistake, the audience would become less involved in their performance and their brief slip indicated a loss of concentration. I began to understand the importance of staying engaged in your performance and staying focused.

It might be difficult to find enthusiasm for a piece you have practiced countless hours and played on numerous occasions. Sometimes a piece of music may become stale and your excitement for it has waned. So how do you keep yourself engaged and your audience excited?

When I perform a piece I have played hundreds of times before I try to find a new expression and find something in the music I haven’t discovered before. I bring new life to something so that it isn’t a routine run through but a fresh experience. This is something that gets me excited and raises my energy and focus during a performance. In doing this I am bringing a new level of excitement to my performance and engaging the audience in the process.

Keeping your audience engaged and entertained throughout your performance is something you must master; it’s one of the most important aspects of becoming a great performer and not just a great pianist.

This is an excellent question and it’s something that many people wonder about but might be afraid to ask.

You might think that so much is dependent on the right hand that there might be some truth to this. Although, I have people ask me all the time about whether or not it would be easier to play piano if they were left handed because they have so much more trouble with the left hand. So what is the answer?

When it comes to playing the piano, you have to ambidextrous because both hands have an equally important responsibility. It is true that more of the melody is played in the right hand, but the left hand has more outstretched positions. So each hand has their own unique set of challenges and whether or not you favor one hand over the other will not change much.

So the simple answer is no. It’s not harder to play the piano left handed or right handed. They both present unique sets of challenges that can only be overcome by practicing.

Maybe you’ve heard of this before. It is sometimes referred to as the Russian School of Piano Playing, Violin Playing or just the Russian School of Music. Each culture has different aspects and the Russian’s are no exception. The Russian culture is known for their intense emotionalism which certainly reflects in their music. They often perform with a great intensity and emotion and this is sometimes referred to as the Russian School.

But is it really a school? Not so much. It’s certainly not a formally organized institution; the Russian school is no different from something like the French school. These are movements started by composers at certain periods. They brought about certain types of music and performances that distinguish an era of music.

Tchaikovsky and Rachmaninoff are two composers that defined the Russian school. They both had a large amount of intensity and emotion in their music. However, just because two pianists are from the same school doesn’t mean they play the same way. Rachmaninoff and Horowitz were incredibly different musicians, yet both were Russian pianists.

So what does this mean? Much like Romantic and Classical music terms are very general, Russian School is also a general term to describe a certain style and era of music. It’s something that’s done after the fact to categorize a movement of composers and style of performance.

Perhaps you have heard of a picardy third, and possibly not. It can possibly provide a compelling element to your music. The picardy third is a single note that can dramatically change the nature of the end of a composition and be a welcomed addition when placed in the right context.

So you’re probably wondering, how do you produce a picardy third and what does it sound like? When a piece is in the minor key, a picardy third is created by raising the third of the last chord of the piece so it ends in the major. You and your audience would expect the piece to end on a minor chord, but the picardy takes an interesting turn and ends it in the major!

When used effectively this can add spice to your music. In a long and dark piece it can add a “ray of sunshine” to an otherwise dark piece of music.

It’s always a challenge for someone when they first start looking for a piano. Maybe you want one for yourself, maybe you are thinking about getting your child piano lessons – whatever the reasons might be, getting into the piano market is a challenge for anyone.

The first thing you will notice is a huge range of prices. There are pianos that cost tens of thousands of dollars and there are pianos that cost hundreds of dollars. Sometimes the pianos are the same models yet there is a huge difference in price. So where do you begin?

Buying a used piano is a lot like buying a used car. If you go online you can see cars for under $3,000 but the reality is you will probably need to put some additional work for them to run efficiently. The same is true for pianos – you can buy something very cheap, or even find a free piano, but the amount of work you might have to put into them can vary greatly. Sometimes you can get lucky and find something that after a few hundred dollars of work can be a serviceable instrument. Other times it can cost you more than the piano is worth – sometimes a lot more.

If price is the ultimate premium for you, it might be better to get a good digital piano or keyboard. Decent ones can start at about $800 and could be more reliable than a used upright you might find on Craigslist at that price point. Keep in mind that a piano requires constant work and that it will have to be tuned and require more maintenance later on so that $1,000 can really be just a starting point when it comes to investing into a piano.

The thing you can’t find for under $1,000 is a high quality instrument. Many people believe if they keep looking they will find that diamond in the rough where someone is listing a high-quality grand for way below what it is worth. It simply does not happen (or rarely happens like winning the lottery). Any of the pianos you find online for $1,000 or below will not be up to the standards necessary for an advanced player.

It is possible that you might find a high-quality grand for only a few thousand dollars but you should be very suspicious of any of these instruments. If you are looking for a higher quality piano you should almost always have a technician check out the instrument for you. Much like buying a car, you can get stuck with a lemon and simply will have wasted your money on something that will never work as intended.

Buying a piano on your own from private sellers is something that takes time and effort. If you go to a reliable source you will find something that is ready to play as soon as you buy it, if you buy from an individual you might be stuck with a large amount of additional work.

Parallel intervals have been around for centuries. They have a rich and detailed history. But what exactly are parallel intervals? Parallel intervals are any intervals (2 notes played together) that go consecutively in the same direction. For example, if you have the interval of a 5th – such as C to G; if you go to D and A that would be parallel intervals – in this case, parallel 5ths.

If you go back to the first written music (plainsong, also known as Gregorian chant) you simply had the singing of liturgical text – just one note at a time. When music eventually evolved to add a second note with the birth of organum there were many parallel intervals (specifically parallel 4ths).

As music developed polyphonically and counterpoint emerged (often with many simultaneous musical lines) the writings of Bach chorales and the basic rules of four part harmony actually forbade the use of parallel fifths and parallel octaves. But why?

The very first writing in music was vocal writing. Typically in four part chorale writing you have a soprano, alto, tenor, and bass and the idea was to have distinct separate vocal lines you could hear. As these lines intersected, harmonies were created. The reason that parallel octaves were avoided in this type of music is because if you have two different voices singing the same notes an octave apart it sounds like the same line.

This same principle applies to parallel fifths since they are sonically related. The same is not true for parallel thirds and other intervals. If you listen to parallel thirds and fourths you can still hear each individual part even though they blend well together.