Piano Lessons- Music Theory Lessons

Welcome to Living Pianos! I’m Robert Estrin. Today, we’re tackling a question from a viewer who recently asked about a cord coming out of a piano, and it’s a great question! Sometimes folks see that and wonder what’s going on. So, let’s break it down together!

Player System

First off, if you’ve got a piano with a player system, that could be your answer. Many pianos today either come with or can be retrofitted with systems that let them play themselves. They sound fine when you’re playing normally, but then you can have it play itself! That little electrical cord is a clear hint that there’s some extra tech inside the piano.

Dampp-Chaser System

But what if your piano doesn’t have a player system? There are still a few possibilities to consider! One common option is a humidity control system, like the Dampp-Chaser or the Piano Lifesaver systems. These nifty devices help maintain the right moisture levels in your piano. If you live in a humid area (like near the beach with windows wide open!), heating rods kick in when things get too damp, keeping your soundboard stable. On the flip side, if you’re in a dry environment, there are systems that can add humidity, and guess what? They need to be plugged in too!

Silent System

Another cool feature you might have is a silent system. This allows you to play your acoustic piano but hear the sound through headphones, which is fantastic for late-night practice! While you’re enjoying the peaceful vibes, you’re actually triggering a digital sounds—so yes, there’s a cord involved here as well.

Digital Piano

And lastly, it may surprise you to discover that what appears to be a beautiful baby grand or upright piano could actually be a digital piano! Many manufacturers cleverly design digital pianos to fit seamlessly into cabinets that mimic the appearance of traditional acoustic instruments. At first glance, these pianos look just like their acoustic counterparts, but they are in fact digital pianos. This fusion of modern technology with classic design not only enhances the aesthetic appeal but also opens up a world of possibilities for today’s musicians.

Welcome to Living Pianos! I’m Robert Estrin. When examining the various components of a piano, you might wonder which part is the heaviest. Is it the wooden case, which certainly has considerable mass, or perhaps the action mechanism that comprises thousands of moving parts for each key?

The Heaviest Component: The Cast Iron Plate

The heaviest part of a piano is the cast iron plate, also known as the frame. In fact, in some pianos, this plate can weigh as much as the rest of the piano combined! After graduating from music conservatory, I ventured into piano sales to meet the demand from students seeking lessons who didn’t own pianos. This endeavor led me to start rebuilding pianos. I vividly recall a time when a few of us moved a baby grand piano without its plate, and it was surprisingly manageable. However, attempting to lift the piano’s plate is another story. Engine hoists are utilized to lift them out of pianos!

The History Behind the Weight

To understand why the piano plate is so heavy, it’s important to look at the instrument’s history. Early pianos, created by Bartolomeo Cristofori, did not include cast iron plates. In fact, other than the strings and tuning pins, there was practically no metal at all. Over time, more metal was added to enhance the instrument’s capabilities.

During Beethoven’s lifetime, the evolution of piano design saw a significant increase in the amount of metal used. As the string tension increased—sometimes reaching up to 40,000 pounds—piano makers recognized the necessity of a sturdy cast iron plate to withstand this immense pressure. So the cast iron plate is indeed the heaviest part of the piano. How many of you would have guessed that? Let us know in the comments here at LivingPianos.com and on YouTube! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. Thanks for joining me, and I’ll see you next time!

Welcome to Living Pianos! I’m Robert Estrin. It often feels like all concert pianists were child prodigies, but is that really the case? I had the privilege of studying with Ruth Slenczynska, a remarkable concert pianist often regarded as one of the greatest child prodigies since Mozart. Ruth began performing concerts at the age of four and continued to perform brilliantly into her nineties. Her story is a testament to the possibilities that early training can offer. But are there any concert pianists who were not child prodigies?

Notable Pianists Who Started Later

Interestingly, several renowned concert pianists did not start as child prodigies. Jorge Bolet, for example, was always musically inclined but did not gain widespread recognition in his youth. Another extraordinary pianist, Sviatoslav Richter, while musically talented as a child, achieved fame later in life. Giovanni Bellucci, an Italian concert pianist, started his piano studies at 14 and went on to become a notable performer, demonstrating that late starters can also thrive.

The Importance of Musical Exposure

As a teacher, I’ve noticed that older beginners who have prior musical experience—whether from another instrument or singing—often adapt more quickly to the piano. Even exposure to music at home can significantly enhance one’s ability to learn later on. Music is, after all, a language, and growing up with it can be a considerable advantage, though not a strict necessity.

Historical Perspectives

Historically, many great musicians, like Mozart and Mendelssohn, were indeed child prodigies. However, figures such as Hector Berlioz, who lacked formal training in his youth, remind us that exceptional musical talent can emerge regardless of when one starts. The key takeaway is this: if you’re beginning your musical journey later in life, don’t be discouraged. The odds are not stacked against you. With dedication, hard work, and a genuine passion for the piano, anything is possible. Embrace the journey, and let your love for music guide you. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. Thanks for joining me, and I’ll see you next time!

Hello, I’m Robert Estrin, and welcome to LivingPianos.com. Today, I’d like to guide you through the realm of piano playing – a journey every pianist, whether a beginner or advanced performer, must undertake. In my experience as both a performer and educator, I’ve come to realize something significant: our approach to the piano is deeply personal. There are numerous techniques available, and ultimately, each pianist must discover their unique way that feels authentic and physically comfortable.

Integration of Multiple Traditions

Over the years, I’ve delved into various techniques from around the globe. My methodology isn’t confined to a single tradition. I incorporate the deep, resonant sound characteristic of the Russian school, the precision and clarity of the German school, and the expressive flexibility of the American school. Recently, I’ve also explored contemporary methods such as the Taubman Approach and the principles of Abby Whiteside. The beauty lies in the fact that each of these approaches has distinct advantages, and by blending them, I’ve cultivated a practical, adaptable playing style suited to today’s piano performance landscape.

Natural Movements and Ergonomics

A crucial element of my teaching is the emphasis on natural movement. Playing the piano should never feel forced or tense. I stress the significance of ergonomics – reducing tension and allowing your hands, arms, and body to move freely. This focus goes beyond injury prevention; it enhances the efficiency and expressiveness of your playing. Techniques like utilizing relaxed arm weight, maintaining natural finger positioning, and coordinating arm and wrist movements yield a much richer tone than relying solely on finger strength.

Musicality and Emotional Expression

However, technique by itself is insufficient. The most vital aspect is forming an emotional connection with the music. This concept, championed by Abby Whiteside, resonates deeply with my teaching philosophy. Mastering technical skills should aim for one goal: to convey the emotions embedded in the music. Once you grasp a piece’s structure and sense its emotional depth, your technical choices will naturally align.

Practical Application and Pedagogy

My teaching is grounded in practicality. I’ve engaged with students at every level, from those starting with their first pieces to those performing complex repertoire. My goal is to simplify intricate challenges – such as fingering, pedaling, voicing, and phrasing – into clear, manageable concepts that can be implemented immediately. It’s all about transforming the daunting into the accessible, allowing you to concentrate on the music itself.

Use of Modern Technology

Today, modern technology facilitates reaching a broad audience like never before. I’ve adopted video lessons, online tutorials, and multimedia resources to make these ideas available to everyone, anywhere. LivingPianos.com has become a valuable asset not just for students but also for teachers, providing insights into everything from foundational techniques to advanced repertoire interpretation.

Conclusion: Finding Your Own Path

The key takeaway here is that no single method suits everyone. Each pianist must carve out their unique path – one that feels authentic and physically comfortable. You’ll incorporate elements from various traditions, but ultimately, your style will reflect your individuality as a musician.

Thank you for accompanying me on this journey today. I hope you found some valuable insights for your own playing. As always, I’m Robert Estrin, a pianist and educator at LivingPianos.com. My approach fuses various elements of piano technique to create a practical, adaptable method that aligns with modern pedagogical practices. Until next time, keep playing, keep exploring, and discover what works best for you.

Please share your thoughts in the comments here at LivingPianos.com and on YouTube! I’m Robert Estrin at LivingPianos.com, Your Online Piano Store. Thanks for joining me, and I’ll see you next time!

Welcome to Living Pianos! I’m Robert Estrin. Today, I want you to imagine a time when electricity was a mystery, and the concept of hearing music without a musician playing in the room seemed like science fiction! In Thomas Edison’s laboratory, however, a single piano would go on to change the course of history. This isn’t just any piano; it’s a Steinway that Edison personally selected in 1890. But Edison’s relationship with this instrument went beyond simply playing it.

A Unique Experience of Sound

Edison, who faced profound deafness, experienced music in an extraordinary way—he felt it through his teeth! The marks left by his teeth on this piano demonstrate his innovative approach to experiencing sound.

From this very instrument, music was recorded for the first time.

Edison recorded performances by legendary artists who visited his laboratory, including Rachmaninoff. This piano represents more than just a collection of wood and strings; it embodies the dreams and aspirations of inventors and musicians alike. Its sound is so pure that it seems to resonate through history itself. This remarkable instrument stands as a testament to the visionaries who have shaped our world. It is a relic of innovation, art, and enduring beauty, reminding us of the profound connections between music and technology. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. Thanks for joining me, and I’ll see you next time!

Welcome to Living Pianos! I’m Robert Estrin. Today we’re going to explore something a bit different—something that gets to the heart of how we create and connect through music and art. Recently, Apple released an ad called ‘Crush,’ and it got a lot of people talking… but not in the way Apple intended.

In this ad, we see pianos, paints, cameras—all tools of creative expression—literally crushed by a massive hydraulic press, only for an iPad to emerge from the debris.

The message was clear: ‘You don’t need these tools anymore. The iPad can do it all.’ But this imagery—this destruction of instruments and artistic tools—struck a nerve with many musicians and artists. The ad has been called ‘tone-deaf’ and ‘insulting’ by those who see their creative tools as extensions of themselves, not just objects to be replaced by a screen. I think this ad reveals something deeper about where we’re headed as a society—away from the tangible, the physical, and the personal, toward an increasingly digital, disconnected world. And yes, the piano, an instrument that has inspired people for hundreds of years, is a casualty in this transformation. We’re seeing a shift where creativity is being funneled through screens, apps, and devices, often at the expense of the rich, tactile experience of creating music with our hands, on real instruments.

When you play the piano, you’re not just making sound.

You’re interacting with the wood, the felt, the hammers. The vibrations resonate in your body and in the air around you. It’s an organic, visceral experience that a digital interface simply can’t replicate. And this extends to many other art forms—painting, photography, sculpture. These are processes where the tools themselves influence the outcome, and that connection between artist and medium is becoming increasingly lost.

The concern here isn’t just about technology replacing tools—it’s about the mindset that comes with it.

The idea that a device like an iPad can replace centuries of artistic tradition might be convenient, but it also risks trivializing the depth of what it means to create. There’s a big difference between playing a note on a piano and tapping a virtual key on a screen. And that difference matters. It’s about the soul of the music. We’ve seen this play out already with music itself. Digital audio, streaming platforms, and MIDI technology have revolutionized how we make and consume music, but they’ve also led to a certain ‘flattening’ of creativity. Musicians are expected to do everything on their laptops—compose, record, mix, and master—without ever touching an actual instrument. The craftsmanship that goes into playing an instrument is being sidelined. And in a way, the piano is becoming a symbol of this shift—something that represents the tangible creativity we’re losing in the rush to go digital.

Don’t get me wrong—technology has its place.

Digital tools like the iPad can be incredibly powerful, offering accessibility and convenience that can be beneficial, especially for young creators. But the danger lies in thinking that they replace traditional creative tools. They’re just different. The piano, for example, is not just a means to an end; it’s an entire experience of expression. And that experience is something worth preserving. At the end of the day, creativity is about the connection between the artist and the medium. Whether it’s a piano, a paintbrush, or a camera, these tools have shaped the way we express ourselves for generations. Losing that connection in favor of digital convenience? That’s a loss we can’t afford.

I’d love to hear your thoughts on this. Is there a place for both traditional tools and digital technology in the future of art and music? Let me know in the comments here at LivingPianos.com and on YouTube! Thanks for joining me, and I’ll see you next time!

Welcome to Living Pianos! I’m Robert Estrin. Today we have a truly extraordinary story about the world’s largest piano! Let’s start with something familiar. Most concert grand pianos, like Steinway’s famous Model D, measure around 9 feet long. This is the gold standard for concert halls worldwide. But some piano makers push these limits. The Bösendorfer Imperial Grand, for instance, stretches to 9 ½ feet and even features extra keys in the bass range, creating a massive sound. Then there’s Stuart and Sons from Australia, with pianos just under 10 feet! But it doesn’t stop there. The Italian maker Fazioli takes it even further, producing a 10-foot 2-inch concert grand piano—currently one of the largest concert pianos in regular use. But today, we’re talking about a piano even larger than that!

Adrian Mann, a young piano enthusiast from New Zealand, had a vision that went beyond anything we’ve ever seen.

At just 15 years old, Adrian took on the incredible challenge of building the world’s largest piano. And when I say large, I mean massive! This piano measures a jaw-dropping 5.7 meters in length, or over 18 feet long! It took him four years to complete, and the result is simply spectacular. What makes this piano truly special isn’t just its size, but the sound it produces. The deep, resonant bass and rich tones created by the enormous soundboard are unlike anything you’ve ever heard before. It’s a whole new level of piano performance, with strings so long that the vibrations create a truly immersive experience.

Adrian’s creation stands as a testament to the dedication and passion of one individual, pushing the boundaries of piano craftsmanship to new heights.

Welcome to Living Pianos, I’m Robert Estrin! Today, we have a truly extraordinary story—one that blends music, history, a lost treasure, and the enduring mystique of Beethoven himself. We’re diving into the fascinating tale of a long-lost Beethoven manuscript discovered in the most unexpected of places—a library in Pennsylvania!

Imagine this: It’s 2005. At a small library in Pennsylvania, an unassuming stack of papers is uncovered.

Among them, one piece stands out—a manuscript in Beethoven’s own hand. But this wasn’t just any work. It was the score for the “Grosse Fugue,” a monumental, complex, and controversial piece from Beethoven’s late period. This single-movement fugue for string quartet, Opus 133, was groundbreaking in its intensity and scope. Written in 1825, it pushed the boundaries of the quartet form so far that Beethoven’s contemporaries struggled to understand it. The manuscript had been missing for 115 years.

This rediscovery isn’t an isolated event in music history.

Just like this Beethoven manuscript, there have been other monumental finds. For instance, later, I’ll reveal another huge discovery—another major find from a different composer—that is incredible! But back to the Grosse Fuge: How does a manuscript like this—a direct connection to Beethoven’s genius—get lost for centuries? The mystery deepens when we learn that this wasn’t just a working draft; this was a complete, final manuscript, presumed missing for generations. It is a four-hand piano version of his opus 133 string quartet finale! Experts believe that the document somehow made its way to the United States through a private collection. For decades, it sat quietly, its historical significance unknown to everyone who passed by it in that library.

What makes the “Grosse Fuge” itself so intriguing?

It’s an immense double fugue, a form that Beethoven explored in a way no one else had. Even today, the Grosse Fuge remains a technical and emotional Everest for performers. Back in the 19th century, it was so avant-garde that Beethoven’s publisher suggested replacing it as the final movement of his String Quartet in B-flat major, Op. 130, to avoid alienating audiences. And yet, here it was, one of the most challenging pieces Beethoven ever wrote, sitting unnoticed in a small American library.

After its discovery, the manuscript went to auction at Sotheby’s, where it fetched a staggering $1.7 million!

The sheer value speaks to both its rarity and the monumental impact Beethoven’s work still has on the world today. The rediscovery of such a piece is more than just a historical footnote—it’s a reminder of how much more we still have to learn about the great composers, and how their music continues to resonate, even centuries after it was written.

Johann Sebastian Bach experienced a similar posthumous revival.

After Bach’s death in 1750, much of his music was forgotten. In fact, only about half of Bach’s music is known to have survived to this day. At the end of Bach’s life, his reputation faded. In fact, his sons were more popular musicians than he was! Then, in 1829, the great composer, Felix Mendelssohn, revived interest in Bach’s works. He was music director in the same church where Bach had worked in Leipzig, the Thomaskirche. He uncovered a staggering number of works of Bach hidden away in the church. He breathed new life into Bach’s legacy by staging a performance of Bach’s St. Matthew Passion and revived the interest in one of the greatest composers to have ever lived!

So, what do you think? What other musical treasures might still be waiting to be discovered, hiding in plain sight? Let us know in the comments here at LivingPianos.com and on YouTube! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store.