Piano and Music Videos

Today Robert is going to provide some tips on how to Improvise on the piano. This is a very deep and involved topic but we hope to provide a good starting point with this video.

How you sit at the piano is extremely important for several reasons. It offers you the most ergonomic position for tone production and technical fluency. It also assures that you can practice for long periods without causing injury. Wind players are accustomed to focusing on embouchure (lip position) on their instruments for optimum performance. How you sit at the piano is no different. In this video we will explore ideal sitting position which will benefit your piano playing and enjoyment.

This question comes from a viewer named Diane. This is a very interesting question and yes, there is an answer to it; although it’s not quite what you might expect.

Throughout my development on the piano, I had the opportunity to study with some phenomenal pianists. My father Morton Estrin was my teacher in my formative years of study. Unlike me, my father has enormous hands! Later I studied with John Ogden who also was a very large man with tremendous hands. I also had the opportunity to study with some sensational women pianists: Constance Keene and Ruth Slenczynska – each of them had smaller hands and probably weighed less than a hundred pounds. These are definitely extremely different body types and as you’d imagine, their approaches to playing and teaching are very different.

When it comes down to it, the difference between men and women playing piano relies less on their gender and more on their physical stature and makeup. Now there are always exceptions to this; I am a great example. Not only do I have small hands but my thumb does not go totally straight – this means I have a pretty small reach. This is something I have had to overcome throughout my entire career. Just as someone having larger fingers and hands might have a tougher time playing between the black keys – there are pros and cons to hand size.

So how do men and women approach the piano? For argument’s sake, let’s say that men will tend to have larger hands and arms, while women will tend to have smaller hands and arms. Men will typically be able to play larger chords almost effortlessly just utilizing their forearms. I remember how Ruth Slenczynska would use her entire arms to produce an incredibly large sound!

While this might sound silly, learning to play music mentally is one of the best practice methods. All practice is mental practice. While the action of playing an instrument has a physiological component, learning and practicing is much more of a mental experience than anything else. In fact, recent brain scan tests have found that there is no difference in brain activity between someone playing an instrument or just thinking about playing an instrument!

In college I had come down with mononucleosis when I was scheduled to play a solo recital. I had become very weak but was determined to play the program. An hour and half a day is about all the practice I could handle – and that was about how long the program was. Needless to say, this was not enough time to practice. Determined to succeed despite my physical ailment, I tried something new. I ended up taking all my scores into bed with me and I practiced mentally. To my surprise, the performance ended up being the best I had ever had by far! But how can this be?

Don’t hop into bed with your musical scores just yet! You have to develop technique and playing your instrument is essential. However, you should continue practicing even when you are away from your instrument. Imagine the performance in great detail, every sound and action. By doing this you will be able to hear the music exactly how you want it to sound so you can develop your performance. Learning your music mentally away from your instrument will help you identify problem spots you didn’t know existed before. You may be depending upon tactile memory on some passages and you may realize that you don’t actually know the music as well as you thought.

Here is a great exercise for you: Take a piece you are very familiar with, remove the score, and try and play it mentally. Play as far as you can go without stopping and when you have to stop, refer back to the score and start again until you can play the entire piece from memory away from your instrument. If you do this, you will have mastered that piece of music better than any other piece you’ve played before. Whenever I play a recital I play my music in my head constantly before the performance. I make sure I can get through difficult sections again and again until things are totally clear. There is great reassurance in performance when you know your scores on this level.

Today we have a question from Umberto, who asks, “How do you approach pedaling in the Moonlight Sonata? Do you pedal throughout all of it?”

These are excellent questions. In fact, yes, you use pedal in some parts rather sparingly, other parts very generously, but you use it throughout the whole piece in different ways. Of course the different movements have different requirements, but we’re going to focus today on the first movement, the famous melodic first movement.

So first of all, just a little primer. Whenever you’re using the pedals on the piano you want to keep your your heels firmly on the floor. You never want to put your pedal like this because it’s noisy. So you keep the heel on the floor, and then the ball of the foot is how you control best. Always keep it in contact, because if you go from above, once again you get noise. All pedals are very different on pianos. You have to experiment to find how you could play it quietly and effectively, because they all release the dampers at different points. One of the first things you want to try out when you’re playing over a concert is how the pedal responds on the instrument.

So getting to the Moonlight Sonata. As with any music, the pedal changes wherever the harmonies change. So if you were to play this piece in chords, each time the chord changes . . . and notice the pedal always comes up exactly on the beat but goes down right after the beat. So that’s the secret of pedaling. The pedal always comes up exactly on the change of harmony and goes right back down again. So if I play it now not in chords, but as it’s written, and with the soft pedal, the una corda pedal, depressed the entire time, you get this.

The reason for changing the pedal, coming up on the pedal exactly on the beat, is otherwise harmonies blur. If you were to play the pedal and put it down on the beat instead of up on the beat, you’d end up with this.

I can’t even do it. It’s so hard. I’m so trained. I’m gonna try it again. I’m gonna try to play the pedal wrong for you.

Yeah, that’s also not connected. I haven’t experimented with playing pedal wrong. It’s a hard thing to do. Any of you who are a pianist accustomed to using the pedal, try it how hard it is to play it wrong. So get in the habit of always coming up at the change of harmonies and right back down again so you get that smooth transition, and if you’re not sure where the harmonies change, break the music down to chords and it becomes very obvious for you.

You may or may not have heard this term before. In studying with my father, Morton Estrin, he stressed the concept of playing with a quiet hand years before I left for conservatory and it’s something I’ve incorporated into my playing ever since. This is a great technique for creating expressive playing on the piano and today we are going to learn about what it is and how you can incorporate it into your playing.