Living Pianos

This is a very common problem for many performers and it can be a challenge to overcome. Learning the correct playing methods for different room acoustics can be tough but I’m going to give you a few tips to help you out.

I performed a concert recently at the Laguna Beach Art Musuem. The room was incredibly loud – it was in a museum gallery with wood floors and a tall ceiling. The sound reverberates incredibly well in that room and with too much volume it can be overwhelming to the audience. So how do you cope with something like this?

The general key to adapting to room acoustics is that the more “live” (echo and reverberation) a room is, the more clean and detached you’ll have play. For example, if you are performing the Schumann Sonata in G minor in a loud room, you will want to limit the use of the pedal and delineate the notes to make things clear. You don’t want to play too legato in a loud room, it will muddle the notes. If you are in a quieter room with carpet and dry acoustics you will want to use more pedal and play legato; it will produce a better sound for the environment.

The ultimate way to test this is by playing in the environment in which you will perform. If you have the opportunity you should get to play and test out the piano in the room before performing. A big challenge is that once people are in the room the acoustics change because the bodies absorb sound! If you are unable to get into your performance space early and get intimately familiar with the room, just follow the general guidelines listed above.

Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729

How to Adapt to Room Acoustics in a Musical Performance

If you’ve been to classical concerts with multiple movements you might have heard people applauding in the wrong places. For the uninitiated, it can be a challenge. You have just heard a performance of a piece with a heroic ending and then there is silence from the audience! As a musician – especially when it comes to solo performances – you want to avoid these random bouts of applause since they can disrupt the flow of the music. This article provides some tips on how to avoid applause in the wrong places and how to deal with them when it inevitably happens.

As a performer, you will want to give your audience clues where to clap. I recently performed the Schumann G minor Sonata (a 4 movement work) and the 1st movement ends with such a ferocious finale that you might think it’s the end of the piece. If you finish the first movement in a dramatic fashion and put your arms in your lap, you will probably garner applause. While you don’t want to temper your performance diminishing the energy, when you finish, keep your hands over the keys ready to play the next movement. This will signal to the audience that there is more to come. While there is no way to definitively stop an audience from clapping, this will certainly help cue them to the structure of the work.

So what do you do if the audience begins to clap anyway? Well, there are a number of ways to handle this and some are better than others. Some people might actually stand up and take a bow in the middle of the piece. I wouldn’t suggest doing this because it disrupts the flow of the piece, however, you should acknowledge the audience in some way. You can look at them and thank them by nodding your head and smiling. They will eventually stop and everyone will realize in a few moments that there is more to come. You can handle this in different ways. I have seen performers put their hands in the air and signal the audience to stop! While I wouldn’t necessarily recommend this, it certainly will help to quiet the audience. No matter what you do, it’s best to acknowledge the audience in some way so they don’t feel embarrassed.

A successful performance is not just about how you play, it comprises the entire presentation. If you find yourself in a situation where the audience has reacted before they should, you should simply thank them and move on. After all, they are there to see you and if they are applauding before they should it’s simply a sign that they have enjoyed the performance so far.

Thanks again for joining me Robert Estrin Robert@LivingPianos.com

How to Deal with Applause Between Movements in Musical Performances

Despite what the title might imply, this is not a match to determine who is the better composer. Today we are going to discuss the similarities and differences between these two iconic composers and see what we can learn in the process. We’ve done this before with the differences between Mozart and Beethoven.

The most obvious similarity between Chopin and Liszt is that they are both from the same era of Classical Music – The Romantic Period. There were certainly trends in music during this time and that is evident by the similarities between these two composers. However, even though they are from roughly the same time period, there are many differences that separate their work from one another.

Geography is a huge contributing factor in a composer’s music. Liszt was Hungarian and as such the music has a certain flavor and boisterousness. He was a musical superstar in his time and many of his pieces reflect his pyrotechnic technique. Chopin was Polish and lived a long time in France. His music can often have a poetic quality and is definitely a product of his environment. However, there is tremendous overlap in their styles and there are examples that can disprove the generalities I express here. Generally though you can get an idea of the flavor you get from each of these two composers.

In the Liszt 6th Hungarian Rhapsody there is a lot of heroism and Hungarian influence. The Hungarian rhythms almost make you want to dance with with the energetic rhythms! Chopin’s work is more characteristically nuanced in his approach. Take for example the middle of the A-flat ballade, it’s very poetic and elegant even with the technical demands.

Both composers have such a wide variety of work that it’s easy to see overlap in the styles of each of these composers. With that in mind let’s take some examples of lyrical music and see how each of these composers approach this.

In the middle section of Liszt’s 6th Hungarian Rhapsody there is a lyrical section that, even though it’s melodic and beautiful, still has dark undertones that are very characteristic of his music as a whole. Let’s take a Chopin waltz; it’s still very elegant and light without the dark undertones that are found throughout Liszt’s work.

Now I could take different examples and you would really have a hard time telling who wrote what! If you study these two composers in depth though you will definitely begin to see where their music separates and how each of them is unique. Again, the big differences lie more in where these two grew up and the lives they lived as well as their inherent personalities.

Thanks again for joining me, Robert Estrin Robert@LivingPianos.com (949) 244-3729. Please let us know how you like this series and if you have any questions or suggestions for future videos please send them our way.

Chopin VS. Liszt – The Differences (and Similarities) Between Chopin and Liszt

This question is very important because it’s something we all consider from time to time – using shortcuts to gain traction in our development as musicians. The thought of using a device outside of playing music to improve as a musician might sound attractive, but is it really effective? And more importantly, is it safe?

The first thing that comes to my mind when I think of this question is Robert Schumann. Schumann went through painstaking efforts to try and strengthen his fingers (his fourth finger specifically) using different devices he created. He ended up with disastrous results; he destroyed his hands and was unable to perform ever again. Schumann was a little unorthodox with his techniques in strengthening his fingers but it’s a cautionary tale for all of us.

Are there any devices you can use today that will safely enable you to strengthen your fingers? Yes but they won’t be the ultimate solution to your problem. When I’m on vacation sometimes I will bring some stress balls – those spongy balls you can squeeze in your hand to alleviate stress – that will allow me to keep my hands in shape when I’m away from the piano for an extended period of time. However, these won’t necessarily increase your hand strength to the point of making you a better pianist. However, it can help you to maintain muscle tone when you are away from your instrument. Make sure you find something that will create some resistance for your hands but not something that will involve a lot of stress or pressure on the muscles in your hands, wrists or arms.

There is no substitute though for simply practicing and playing your instrument. Sitting at your desk and squeezing a stress ball will not make you a better pianist. If you practice your music consistently you won’t need to strengthen your hands as it is something that will occur naturally over time.

It is a good idea though to have something in place when you leave your instrument for an extended period of time. Be careful not to jump right into virtuoso music as soon as you get back on the piano – you could end up seriously injuring yourself! This is where something like the stress balls can help keep up your strength even while you’re away from the piano.

I’m interested in everyone’s suggestions for keeping your hands in shape. If you have a special routine or maybe even a device that you use we would love to hear about it. Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729

Can You Strengthen Your Hands With Mechanical Devices?

I have been asked how to become a virtuoso musician many times and plan on doing a series on the subject. This is an introduction to the topic for you.

You probably assume that to become a virtuoso it will take hours and hours of practice of scales, arpeggios, repertoire, playing with other musicians, sight reading, and everything else that is involved in becoming an expert in your field; but there is more.

When it comes to the mechanics of playing an instrument and really mastering it, there is one similarity that all virtuoso musicians share. And this doesn’t just apply to musicians – it applies to any field from athletics to architecture, the absolute experts in their fields all share this similar quality.

At one point in their lives they immersed themselves so completely in their craft for an extended period of time that they developed a mastery that put them on a new level.

What does this entail for musicians? It means taking the time and effort to immerse themselves in their craft and even if they don’t always practice intensely every day for the rest of their lives, they have gone through a sustained period of time in their lives when they practiced nearly every available waking hour developing an extremely high degree of mastery of their instrument.

One parallel concept is what it takes to launch a craft into space. You need to travel a certain speed in order to break through the atmosphere and escape earth’s gravitational pull. If you continue to travel at a constant speed, you could travel forever but you would never escape earth’s atmosphere. You must hit a certain speed to break through that plane and get yourself out of the earth’s orbit. The same principle applies to become a virtuoso; at some point, you have to dedicate a significant amount of time in your life perfecting your craft and by the end of it you will have emerged as a different caliber of player.

It isn’t just a matter of how many years you practice, there also has to be an extended time in your life dedicated to absolute mastery of your field. I have spoken with countless virtuoso musicians, artists, and people in many different fields who have a great accomplishment, and they all have this exact same thing in common. If you have any similar stories I would love to share them.

Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729.

Becoming a Virtuoso Musician Part 1 – Introduction

I have been asked how to become a virtuoso musician many times and plan on doing a series on the subject. This is an introduction to the topic for you. You probably assume that to become a virtuoso it will take hours and hours of practice of scales,

Welcome to our first in a multiple part series on how to approach the Chopin G Minor Ballade. This is an amazing piece of music that exemplifies the manic emotions of Frédéric Chopin swinging from points of incredibly low despair to the heights of ecstasy. Today we are going to discuss some of the middle section because there are a number of techniques that come one after another very quickly.

You are probably familiar with the big heroic middle section that restates the theme and ends with a flurry of octaves.

Let’s start on the descending diminished chord:

The best way to practice this section is to play it slowly and practice getting your fingers in the right place instantly. So, I suggest playing just a few notes at a time and stopping when the hand changes position. For example here:

Play the first few notes and practice getting your hand in the right position above the chord, but don’t play it. Keep playing the passage over and over and stopping until you can get your hand in the right position over the chord in a relaxed manner. You will want to continue doing this for each subsequent group.

If you practice this way you learn to play this passage with much more fluidity and you’ll be ready for each subsequent hand position before you need to play. You need to be able to play each section with ease and this technique is a great way to achieve this.

The next section we are going to discuss will provide a great example of how to be over note groups, in this case, 2 note groups following the bottom notes going up the scale.

You can also practice these 2 notes groups in different rhythms. By practicing in two-note groups, it will force you to come up with a fingering that will accommodate the passage enabling a smooth execution of the passage. After playing this section in two-note groups and getting 100% comfortable with it, breaking it up as it’s written will be almost effortless.

In the next section you can use another technique:

This section is difficult because you have two completely different techniques in each hand. In the right hand, you will want to play fast and light and in the left hand, you will want to delineate the phrasing clearly.

In the right hand, it’s best to practice with the metronome and gradually get your playing up to speed. Start at a slower tempo and continue to play the section until you are absolutely comfortable. When you feel confident in your playing, put the metronome up one notch and practice it again until you are absolutely comfortable. Keep doing this until you are able to play the passage up to speed without issues. As you get faster, concentrate on lightening up your fingers and keep them very close to the keys.

For the left hand, you will want to use a similar technique that we discussed in the first section of this lesson and that is getting your hands over the next set of notes instantly. Keep practicing and stopping before the next group of notes. Practice getting your hands and fingers in the correct position before you play the notes. Keep practicing over and over until your hands and fingers go to the correct notes almost instantly and effortlessly.

Combine the hands once you feel confident with each individually. Remember to keep your right-hand fingers very close to the keys. This section is very tricky because you have two different techniques in each hand. That is why practicing hands separately first is so effective in solving the technical issues.

Stay tuned because next time we will cover the next section of this piece and discuss a new set of techniques. Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729

How to Play Chopin’s G minor Ballade – Part 1

You may find the accompanying video helpful. My wife Florence Estrin demonstrates how to play a slur on the flute as it’s much more complicated to demonstrate on the piano. If you are only able to read the text, I will give you good information about what a slur is.

Slurs are curved lines connecting 2 or more notes:

Note: A curved line that connects 2 notes that are the same is not a slur but a tie which makes the 2 notes into one long note.

Slurs indicate to a wind player when to use the tongue to delineate the beginning of notes and when to connect the notes on the breath. To put this simply, the tonguing will be on the first note and everything else that follows will be on the breath. Florence provides a great example of this in the video above. She also provides some examples of what it sounds like to play the musical line without slurs – tonguing the beginning of each note as well as providing examples of different phrasing.

When it comes to the piano, the difference between a slur and a non-slurred note is much harder to determine. A true slur as in singing is actually a quick glide between notes. Since this isn’t possible on the piano, overlapping notes slightly is the closest approximation of a slur possible. This is technically not a slur but it’s impossible to play a true slur on the piano; like many things when it comes to this instrument, it’s an illusion. If a phrase is not slurred, you can delineate notes by putting a slight space between each of the notes.

There are many different types of phrasing and shadings within slurs and non-slurs we can explore in future videos. I hope this information is useful to you. If you have any more questions please contact me:

Robert Estrin Robert@LivingPianos.com (949) 244-3729

What is a Musical Slur? Music Lessons with Robert Estrin

So much has transpired in the piano industry in the nearly 6 years since producing my, “Best Piano Brands” video, I thought it was due time to offer a fresh perspective on the industry.

In the first video I explained how countries of origin affect the quality of pianos. This is a simple truth – the longer period of time piano building is pursued in a country, the more mature the manufacturing and quality tends to be. But we are now living in a truly global marketplace. How has that affected the piano industry?

If you carry an iPhone in your pocket, you are enjoying a great product sold by the American company Apple. But the manufacturing is done in China. In fact, many of the components are sourced from other countries like Korea, Mongolia and even parts of Europe! This is not an outlier product – this is the way of the world in manufacturing today.

While there are some small, independent companies producing pianos in the old world tradition mostly in Europe, these tend to be manufacturers with very low output catering to a niche market. Most piano companies are not independent. Japanese piano maker Yamaha owns the Austrian piano company Bösendorfer. The Korean piano giant Samick owns Bechstein, Seiler and a sizeable chunk of Steinway!

Making matters even more complex, large piano companies often have operations in different countries. For example, a Yamaha and Kawai (both Japanese companies) have pianos manufactured in Indonesia.

Another factor is the plethora of “stencil pianos”. These are pianos marketed with familiar names of out of business companies or fictitious names stenciled on the fallboard. Many of these piano companies source the instruments from more than one manufacture. So, often times it’s all but impossible to figure out what company made the piano.

So, in today’s world, the vast number of pianos being produced are made in Asia. Last year there were only about 1400 pianos made in the United States mostly from Steinway. If money is no object, there are many fine piano companies out there from Fazioli in Italy to Mason & Hamlin outside of Boston. But for the vast majority of piano buyers, the short list of major piano companies includes 4 companies which include the two Japanese giants:

Yamaha
Kawai

Korean companies have been around since the mid 20th century. They come with different scale designs and price points just like Yamaha and Kawai and have very mature design and manufacturing:

Young Chang
Samick

The elephant in the room is the emergence of the Chinese piano industry. The largest Chinese piano manufacturer is Pearl River. But there are hundreds of companies now producing pianos in China.

The good news is that there are very few bad pianos sold in the United States. The secret is matching the right instrument for your needs. Ikea isn’t a bad furniture maker so long as your expectations are in alignment with what you are getting. Their products could serve the perfect purpose for you. So it is with pianos. Not everyone needs a piano that can play on a concert level to keep for generations.

Below is a list of hand-made pianos. All of these companies make a limited number of high end pianos. There is a range of quality to some of these manufacturers. However, the specific instrument as well as personal preference will determine which one is best for you:

Blüthner
Grotrian
Sauter
Steingraeber & Söhne
August Förster
Bechstein
Mason & Hamlin
Haessler
Schimmel
Steinway
Albert Weber
Shigeru Kawai
Fazioli
Petrof
Rönisch
S Series Yamaha
Schulze Pollmann
Wilh. Steinberg
Charles Walter
Stuart & Sons
Ravenscroft
Weinbach

What are the Best Piano Brands? 2015 Update

So much has transpired in the piano industry in the nearly 6 years since producing my, “Best Piano Brands” video, I thought it was due time to offer a fresh perspective on the industry. In the first video I explained how countries of origin affec

This week we are presenting Part 2 in our series on Atonality. In Part 1, we gave a Brief Overview of Atonality. Today we are going to go into a bit more depth. The question of whether or not atonality goes against nature is a difficult one which may elicit a strong response in many viewers – both negative and positive. I would love all of your input on this subject and really appreciate any comments or suggestions you have.

Western music is built upon the Overtone Series – which is a fact of nature: all vibrating objects contain color tones. So when you hear a fundamental pitch it actually contains other notes above it. Any vibrating object that produces a pitched sound elicits these overtones – so a string instrument will produce the same series of notes as blowing through a French horn or even a garden hose! It is all the same series of tones. Here is the overtone series:

The intervals start out very large and then get smaller. These intervals are based upon simple relationships. For example, an octave (the first overtone) is just a 2 to 1 relationship. All sound is based upon vibrations so if you play A above middle C on a piano it has 440 vibrations per second. (This is why people speak of tuning to A 440.). Technically your eardrum is vibrating back and forth 440 times per second and it produces the sound of the note A. If you play A an octave higher you produce 880 vibrations per second, exactly twice the number of vibrations per second. That’s why it sounds like the same note. A perfect 5th (the second overtone) forms a 3 to 2 relationship.

A minor second is a very dissonant interval with a 16 to 15 relationship. The more distant the mathematical relationship of notes, the more dissonant they sound. Why is this? Because the human brain has trouble making mathematical sense out of more distant relationships of tones. So this is why some intervals of notes are harder to figure out than others. Clashing notes are referred to as sounding dissonant. Here is a chart of the mathematical relationship of musical intervals:

Unison (2 of the same note) 1/1

Octave 2/1

Perfect 5th 3/2

Perfect 4th 4/3

Major 3rd 5/4

Major 6th 5/3

Major 7th 15/8

Minor 7th 9/5

Major 2nd 9/8

Minor 2nd 16/15

Tri-tone 135/128

So, to some extent atonality going against nature and and is hard for the brain to digest. If you consider that the universe is constructed in an orderly manner – that there are inherent relationships between everything living and nonliving that can be organized down to a molecular level – than atonality goes against nature as it does not have tight formal relationships the way tonal music does. On the other hand, if you believe that the universe is chaotic and that many things are related only by random chance encounters which we seek to find order in, then atonality is simply an expression of the universe.

So the question of whether or not atonality goes against nature is related to how you see the universe itself. Is the universe ordered or chaotic? This is something that man has been grappling with since we first appeared on this earth and no definitive answer is possible. Ultimately we must find order out of chaos to survive in this world and that’s why tonality is so refreshing and easy to digest. Atonality is something that is hard to digest and challenging, yet some people find order within the chaos. The challenge of finding structure amidst the randomness that surrounds our everyday lives is what keeps us engaged in both art and life itself.

So the appreciation of atonal music ultimately comes down to your intellectual capacity of making order out of chaos. Some people prefer things to be more coherent while others enjoy the challenge of dealing with more randomness. What type of person you are will determine whether or not you enjoy or abhor atonal music. It also comes down to the level of sophistication of the listener because music is a language that must be learned.

Thanks again for joining me Robert Estrin Robert@LivingPianos.com. I would love to hear from all of you and get your thoughts on this subject.

Piano Lessons- Music Theory Lessons