Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com—I’m Robert Estrin. If you’ve ever heard a Neapolitan sixth chord and thought, “Wow, that sounds unique and interesting!”—you’re not alone. This particular chord has a rich, striking sound that adds a beautiful touch to many pieces of music. Let’s break down what a Neapolitan sixth chord is, and how it’s used in different musical contexts.

What is the Neapolitan Sixth?

The Neapolitan sixth chord is a major triad built on the flattened second degree of a scale, in its first inversion. To explain it more clearly, let’s break it down:

Start with a major scale—let’s use C major for simplicity.
The second note of the C major scale is D. If we flatten this note, it becomes D-flat.
Build a major triad using the D-flat as the root. The notes of the triad would be D-flat, F, and A-flat.
Now, place the third of this triad (F) in the bass, which puts the chord in its first inversion.

And there you have it: the Neapolitan sixth chord. It’s a major chord built on the flatted second degree of the scale, with the third of the chord in the bass.

How Does the Neapolitan Sixth Work in C Major?

You might be wondering, “Why is this D-flat major chord showing up in the key of C major?” It may seem out of place at first, but that’s the beauty of the Neapolitan sixth—it adds an unexpected color to the harmony. In classical music, the Neapolitan sixth is often used to create tension before resolving to more familiar chords like the dominant or tonic.

Using the Neapolitan Sixth in a Chord Progression

Let’s take a classic chord progression in C major to demonstrate how the Neapolitan sixth works in context. Consider the following:

I chord (C major)
IV chord (F major)
I6/4 chord (C major in second inversion with G on the bottom)
V7 chord (G7)
I chord (C major)

In many cases, you can substitute the IV chord with the Neapolitan sixth. This adds an extra layer of richness to the progression, as the Neapolitan sixth brings in an unexpected harmonic twist. Here’s how it works:

Start with the C major chord.
Next, instead of going to the F major (IV chord), move to the Neapolitan sixth.
Move to the V7 chord (G7)
Finally, resolve to I, the C major chord

A Different Sound from the Typical Progression

Take a moment to compare how the Neapolitan sixth sounds next to the more common IV chord or even the ii6 chord (the second inversion of the ii chord). You’ll notice the Neapolitan sixth adds a unique flavor, a richer and more dramatic shift in color. It’s like a special spice in your musical stew, enhancing the harmonic complexity.

Finding the Neapolitan Sixth in Your Music

If you come across a chord that sounds unusual or unexpected, it could very well be a Neapolitan sixth. Here’s how to identify it:

Find the key of the piece you’re playing.
Identify the second note of the scale.
Flatten that second note (go a half-step down).
Build a major triad on the flattened note.
Put the third of the triad in the bass, which will put the chord in first inversion.

You can do this in any key! If you’re in E major, for instance, the Neapolitan sixth would be built on F (the flatted second note), and would contain the notes F, A, and C. Put the A on the bottom (1st inversion), and you have the Neapolitan sixth chord in E major.

A Powerful Tool

The Neapolitan sixth is a powerful tool in music that you’ll encounter more often than you might realize once you start listening for it. It’s a chord that brings richness and unexpected beauty to music. Try it out in your own playing and see how it transforms the color of your music.

Welcome to LivingPianos.com—I’m Robert Estrin. If you’re ready to master broken octaves and play them effortlessly, you’re in the right place! By the end of this article, you’ll be able to play broken octaves all day long without getting tired—yes, it’s absolutely possible. Let’s dive into the secret of making this happen.

The Challenge of Broken Octaves

Let’s start with an example. A great piece to highlight broken octaves is the third movement of Beethoven’s Moonlight Sonata. There’s a long section in the third movement filled with broken octaves that can seem like a daunting task. The question is, how do you play these over and over without tiring out your hands and fingers?

You might think the answer lies in using your fingers more, but that would be a mistake. If you try to play it with just your fingers, you’re bound to tire out quickly. So, what’s the secret?

The Secret to Playing Broken Octaves

The technique involves positioning the hand in an arch. The strength of the arch helps distribute the force between the thumb and pinky, which are vastly different in strength. This natural positioning balances the two fingers, making it easier to play the octaves without straining.

The thumb is by far your strongest finger, while the pinky is one of the weakest. The arch helps balance this difference. But there’s more to it than just the arch. The real magic comes from rotating your wrist, not from moving your fingers. This wrist rotation allows you to play the broken octaves smoothly and evenly with minimal effort.

Why This Technique Works

By rotating your wrist instead of relying on finger movement, you eliminate the strain that comes from using your fingers to control each note. It becomes a fluid motion, and with practice, you’ll be able to play broken octaves for much longer without feeling tired. This wrist rotation is the secret I’m sharing with you today. When you use this method, you’ll find that playing broken octaves becomes effortless.

Try It for Yourself

Give it a try at the piano. And watch the accompanying video so you can see it in action. Don’t use your fingers—just rely on the natural movement of your wrist and hand. It may feel different at first, but once you get the hang of it, you’ll notice how much easier it is to play broken octaves with this technique.

Welcome to LivingPianos.com—I’m Robert Estrin. Let’s face it: playing the piano is hard. It takes years of practice and dedication to build the kind of security that makes the instrument feel like an extension of yourself. Over time, you develop a deeper connection with the keys, but getting to that point takes effort and perseverance. So, what exactly makes the piano so difficult?

1. The Complexity of Piano Music

The first thing that comes to mind when we think about why piano playing is tough is the sheer complexity of the music. Unlike other instruments, the piano requires you to use both hands independently, often playing completely different parts. The hands cross over each other, switch roles, and even pass parts back and forth between them.

While other instruments, like the clarinet or trumpet, present their own challenges—like tone production, breath control, and finger placement—the piano is unique in that every piece you play requires new hand positions, finger patterns, and movements. You’re constantly adapting to new challenges, even if you’ve been playing for years.

2. Reading Music vs. Watching Your Hands

Another big challenge pianists face is the struggle between reading the music and watching your hands. You want to be able to read the sheet music while also being aware of what’s happening on the keyboard, but how can you look in two places at once? Sure, you can memorize the music, but memorization takes time, and it’s not always an option, especially when playing chamber music or accompanying others.

The key is to develop familiarity with the keyboard through your ear and feel. Over time, your connection with the instrument will allow you to find your way without needing to constantly look at your hands. The more you practice, the more your reading skills will improve and help you play with ease.

3. The Anatomical Challenge of Playing the Piano

The way your hands are built is actually a bit backwards for piano playing. Ideally, you want your stronger fingers to handle the melody and bass, the notes that need to stand out. But instead, your powerful thumbs are in the middle, which isn’t really what you need. Most of the time, you want the melody in the higher notes and the bass in the lower notes to come through clearly. Think about it: it’s the top and bottom notes that need to be heard most, and your weak 4th and 5th fingers are called upon for this purpose. So, the challenge is overcoming the natural way your hands are built and focusing on bringing out the melody and bass, where you really want the emphasis.

4. The Difficulty of Sustaining High Notes

Another inherent challenge on the piano is the difference in the way high and low notes decay. The lower notes tend to resonate and last longer, while high notes fade almost immediately. This can be frustrating, especially when you’re trying to bring out the melody, which is often in the higher range of the piano.

You need to exaggerate the weight and arm support in those higher notes to make them sustain long enough to be heard above the accompaniment. This is crucial when playing pieces with a delicate melody, like Chopin’s Nocturnes, where the melody is often slower and needs to be clearly heard over a faster-moving accompaniment. Without adjusting your touch, the melody will quickly disappear under the more persistent bass notes.

5. Adapting to Different Pianos

Finally, one of the most unique challenges of playing the piano is that, unlike portable instruments like the guitar or flute, you can’t simply pick up your piano and take it with you. Whether you’re performing a concert or just playing at a friend’s house, every piano you sit down at will be different. The touch, the sound, the pedals—they all vary from instrument to instrument, and you must adjust to each one on the spot.

This is a problem unique to pianists. Other musicians can bring their instruments wherever they go and know exactly what to expect. But pianists? They may find themselves playing on an unfamiliar instrument just moments before they perform, needing to quickly adapt to its nuances.

If you’re working through these challenges, know you’re not alone!

Every pianist has been there. Keep practicing, and you’ll continue to build that connection with the piano, one note at a time.

Welcome to LivingPianos.com! I’m Robert Estrin. Understanding diatonic chords can sound a bit complicated at first, but when you break it down, it’s actually quite simple! This foundational concept can make learning music a seamless experience and help you improvise effortlessly. Let’s dive in and explore what diatonic chords are and why they’re so helpful!

What Are Diatonic Chords?

To understand diatonic chords, you first need a solid grasp of major scales. Everything in music theory builds on a foundation of basic concepts, and understanding scales is similar to knowing your multiplication tables in math. Imagine trying to solve algebra problems without knowing how to multiply. It would be impossible!

The same goes for music. Once you’re comfortable with major scales and key signatures, understanding diatonic chords is easy. If you’re not yet familiar with scales or key signatures, don’t worry—I’ve covered those topics in other videos. But if you’re already confident with them, then you’re ready to tackle diatonic chords, which appear everywhere in music.

The Basics of Diatonic Chords

Let’s start simple. In the key of C major, we begin with the C major scale:

C – D – E – F – G – A – B – C

From this scale, we can build a set of diatonic chords by stacking thirds (every other note) starting from each scale degree. For example:

C major chord (I chord): C – E – G
D minor chord (ii chord): D – F – A
E minor chord (iii chord): E – G – B
F major chord (IV chord): F – A – C
G major chord (V chord): G – B – D
A minor chord (vi chord): A – C – E
B diminished chord (vii° chord): B – D – F

You can also extend this idea to seventh chords (which add another third above the top note of the triad):

I7 chord: C – E – G – B
ii7 chord: D – F – A – C
iii7 chord: E – G – B – D
IV7 chord: F – A – C – E
V7 chord: G – B – D – F
vi7 chord: A – C – E – G
vii°7 chord: B – D – F – A

Diatonic Chords in Other Keys

The concept of diatonic chords is not limited to C major. It applies to any key. Let’s look at D major as an example. The diatonic chords in D major would be built from the D major scale:

D – E – F# – G – A – B – C# – D

The diatonic chords in D major would be:

I chord (D major): D – F# – A
ii chord (E minor): E – G – B
iii chord (F# minor): F# – A – C#
IV chord (G major): G – B – D
V chord (A major): A – C# – E
vi chord (B minor): B – D – F#
vii° chord (C# diminished): C# – E – G

This same principle works in any key. And remember, these chords can be inverted, which simply means you can rearrange the notes of the chord so that a note other than the root is on the bottom.

How Diatonic Chords Help You Learn and Read Music

One of the greatest benefits of understanding diatonic chords is how they simplify reading and learning music. Take Beethoven’s Moonlight Sonata, for example. In the third movement, there’s a section where the chords are simply diatonic chords in inversions, as shown here:

The first chord is an F-sharp minor chord (in this case, using the natural minor scale).
The notes in each chord follow the steps of the scale, either going up or down.
When you understand that the notes of each chord simply follow the scale, learning and reading the music becomes so much easier. You’re not just seeing random notes on the page; they’re all related to the scale you’re working in.

A Second Example: Kabalevsky’s Fairy Tale

In this piece, Kabalevsky’s Fairy Tale, you can hear diatonic chords being broken up in a similar way. For instance:

The left hand starts with an E-flat major chord in second inversion (E-flat 6/4) with B-flat on the bottom.
The notes then move step by step through the E-flat major scale, creating a beautiful, flowing progression.
This stepwise movement through the scale makes it easier to understand and internalize the music, as it’s based on diatonic harmony.

Improvising with Diatonic Chords

Once you understand diatonic chords, you’ll find it much easier to improvise. For example, in the key of C major, you can create progressions by playing the diatonic chords in various orders. You can even add seventh chords to give your improvisation a richer sound.

Similarly, you can apply this approach to any key. In D major, you might play a progression using the diatonic seventh chords, such as DM7 (I7) and Em7 (ii7), to create a smooth, harmonious feel. The beauty of diatonic chords is that you can transpose them easily to any key, making your improvisation seamless and natural.

Understanding diatonic chords is an essential tool for any musician.

Understanding diatonic chords helps you read music more easily, makes learning pieces less intimidating, and opens up new possibilities for improvisation. The key is building a solid foundation with major scales and key signatures, which will allow you to navigate diatonic chords effortlessly.

Welcome to LivingPianos.com! I’m Robert Estrin. As a pianist, there are certain pieces of music that serve as wonderful “gateway” works—pieces that are accessible yet deeply rewarding, elevating you to a level where you can start to grasp other great piano music. These pieces open doors to a wealth of music that can keep you busy for a lifetime. Today, let’s dive into seven classical pieces that I believe every pianist should learn.

1. Bach’s Two-Part Inventions

A great place to start is with Bach’s Two-Part Inventions. These works are not just for students; they are beautifully crafted pieces that are often performed in concerts. Bach’s inventions might seem simple at first glance, but they are masterful compositions, with brilliant counterpoint and structure. For example, the very first invention, in C, or the F major and A minor inventions, are accessible yet offer so much depth to explore.

If you’re not quite ready for the two-part inventions, don’t worry—there are other Bach pieces that are easier to approach. Try works from the Anna Magdalena Notebook, such as the famous Minuet in G (both the major and minor compositions), or the delightful Musette in D major. These pieces give you a taste of Bach’s genius without feeling overwhelmed.

2. Mozart: Sonata in C Major, K. 545

Once you feel comfortable with Bach, it’s time to move to Mozart. A great choice for beginners is his Sonata in C Major, K. 545. It’s often called the “easy” Mozart sonata, but it’s still an exquisite piece of music and no Mozart is easy! While it’s not as difficult as some of Mozart’s more complex works, it’s a piece that captures the elegance and beauty of Mozart’s style. It’s a wonderful introduction to classical sonatas.

If you’re looking for alternatives, you can skip Mozart and dive into some of Beethoven’s earlier sonatas instead. His Opus 49, No. 1 in G minor and Opus 49, No. 2 in G major are excellent additions. These pieces are approachable and provide a wonderful introduction to Beethoven’s unique harmonic language and emotional depth. They are technically accessible for intermediate pianists, and while they aren’t as difficult as some of his more famous works, they still offer plenty of character and expressive power.

You could also explore Beethoven’s Opus 2, No. 1 in F minor or Opus 10, No. 1 in C minor as well as the E major Opus 14 no 1 and G majo Opus 14 nos 2. These pieces are still relatively manageable but offer a bit more challenge, making them great stepping stones to more advanced Beethoven sonatas.

3. Schumann: Scenes from Childhood

Robert Schumann offers another great avenue for pianists. One of his most famous works, Scenes from Childhood (Kinderszenen), consists of 13 short pieces, each with its own distinct character. These movements are perfect for students because they can be learned individually and still feel like complete works. Some, like “Of Foreign Lands and People,” are gentle and accessible, while others, such as “Träumerei,” are more reflective and beautiful.

Schumann’s music is incredibly rich and offers a variety of emotions and technical challenges without requiring virtuosic technique.

4. Grieg: Lyric Pieces

Norwegian composer Edvard Grieg composed his Lyric Pieces as short, intimate works. The first piece, in particular, is a lovely introduction to Grieg’s style. These pieces are full of beautiful melodies, lush harmonies, and evocative moods. They aren’t too technically demanding, but they will make you feel as if you’ve unlocked a hidden world of expressive music. The Lyric Pieces are a wonderful way to expand your repertoire while playing music that feels timeless.

5. Chopin: Prelude in E minor, Op. 28, No. 4

No list of classical works is complete without Frédéric Chopin. While Chopin is known for his virtuosic pieces that can take years to master, there are still many pieces that are accessible to intermediate pianists. One such piece is the Prelude in E minor, Op. 28, No. 4. It is simple in terms of melody, yet harmonically rich and full of emotional depth. When I first played this piece as a child, I thought it was the most beautiful piece of music in the world, and even now, I still find it deeply moving.

Other accessible Chopin works include the B minor Prelude, which gives pianists the opportunity to explore the left-hand melody, and the A major and C minor Preludes, both of which are also wonderful pieces to learn.

6. Khachaturian: Adagio of Spartacus and Phrygia

Let’s turn to the 20th century for some expressive, yet accessible music by Aram Khachaturian. His work, often titled simply as, Melody, is a beautiful and emotional piece that’s not technically demanding but very rewarding musically. The rich harmonic language and sweeping musical lines make it a joy to play and a perfect addition to any pianist’s repertoire. It’s a fantastic example of the lush romanticism of 20th-century music.

7. Kabalevsky: Fairy Tale, Op. 51, No. 1

Finally, we have Dmitri Kabalevsky’s Fairy Tale, Op. 51, No. 1. This piece is not only accessible for intermediate pianists but also full of charm and whimsy. It’s a delightful example of 20th-century music, and its playful melody and colorful harmonies make it a joy to perform. If you’re looking for a piece that’s both fun and musically fulfilling, this is a great choice.

A Lifetime of Great Music

These seven pieces represent a range of styles and periods, but they all share one thing in common: they are accessible to pianists who are ready to take their playing to the next level. Whether you’re just starting out with Bach’s Two-Part Inventions or diving into Chopin’s Preludes, these works will provide a solid foundation for your musical development. From there, the possibilities are endless. So go ahead and explore these great pieces—and let them be the gateway to a lifetime of beautiful music!

If you’re serious about taking your piano playing to the next level, click the link below for more resources on learning music, refining your skills, and performing with confidence. I’m here to help!

Welcome to LivingPianos.com! I’m Robert Estrin. In my years of teaching, I’ve encountered countless piano students who make the same mistakes over and over again. These errors are so common, and they can hold back your progress if you don’t address them. If you can recognize and avoid these mistakes, your playing will improve significantly. Here are five of the most frequent piano practice mistakes and the best ways to fix them.

1. Correcting, but Not Solidifying Your Progress

One of the most common mistakes pianists make is thinking that correcting an error is enough. You may fix a problem once, but if you don’t solidify that correction, it’s likely to resurface. To really make a lasting change in your playing, you need to practice the correction over and over again until it feels completely natural.

The key to solidifying a correction is repetition. But don’t just repeat it mindlessly—make sure you’re playing comfortably. Sit comfortably and ensure that your shoulders are relaxed. Play the passage until it feels effortless. This is where most pianists fall short: they think they’ve corrected something, but then, when they come back to it later, they slip back into old habits.

Here’s how to tackle this: Once you’ve corrected a mistake, go back a little before that passage and play through the section again, then a little further back, and eventually play from the beginning. By doing this, you’ll reinforce your new way of playing and avoid slipping back into your old habits.

2. Practicing Too Large a Section at Once

Another common mistake is trying to work on too large of a section at one time. When you try to refine an entire phrase or a large chunk of music, it becomes difficult to pinpoint exactly where things are going wrong. Plus, by the time you’ve finished the section, it’s hard to remember where the issues were, let alone fix them effectively.

Instead of practicing long sections, break them down into smaller, more manageable parts. This will allow you to focus on exactly what needs attention and refine things to the point of mastery. Once you’ve nailed the smaller sections, then you can start putting them together.

3. Practicing Too Fast

I can’t emphasize this enough: slow down your practice! Too many people rush through pieces because they want to play them faster. But this is a recipe for insecurity in your playing. You need to find the tempo at which you can play relaxed with security, even if it feels ridiculously slow. This is essential, especially when you’re working to refine your music.

Practicing slowly gives you the opportunity to gain confidence in your playing. It allows you to work through tricky passages without feeling rushed. When you’re comfortable playing slowly, speeding up becomes a natural progression. But if you always push yourself to play faster than you’re ready for, you’ll never achieve true security in your playing.

4. Not Having Clear Objectives

A big mistake many pianists make is practicing without a clear goal in mind. Are you trying to improve your left-hand technique? Bring out the melody more? Fix a fingering issue? If you don’t know exactly what you’re trying to achieve, you’re setting yourself up for failure.

Make sure you have a clear objective for each practice session and know exactly what you’re focusing on at any given moment. This will guide your practice and make it more effective. Whether you’re reviewing, memorizing, or working on a specific technique, knowing your goal is key to achieving it.

5. Not Practicing Performing

This is another mistake that many pianists make: not practicing performing. Playing in a practice session is different from playing in a performance. To simulate the feeling of a performance, set yourself up as if you were actually going to perform. Record yourself on your phone or other device, imagine an audience, and don’t stop playing once you start. This will help you practice staying focused and calm during a performance, and it will expose any areas that might need more work. Don’t just practice in isolation—make sure you also practice performing. Ideally, you can set up small performances for family members or good friends to get the feel of things before venturing to more challenging situations. This will give you the confidence you need when it’s time to play for an audience.

By addressing these mistakes and implementing these strategies, you’ll see a big improvement in your playing!