Piano and Music Videos

This is a topic that is very important to anyone wanting to develop a refined technique on the piano. It is very important to practice the piano without using the pedal – the pedal should be something that enhances your music and not simply a crutch for making mediocre playing sound better.

Pedals on the piano are actually a modern development. When the piano was fist invented it didn’t have pedals, so connecting notes had to be accomplished with the fingers. Believe it or not, Johannes Brahms didn’t even have a sustain pedal on his practice piano!

The sustain pedal does just as its name implies – it holds (sustains) all the notes. When you hold the pedal down, the dampers stay hovering over the strings, when you release the pedal the dampers fall back onto the strings and dampen the sound.

The pedal is not just a tool for connecting notes; it’s capable of adding expressive elements to your music. The real challenge of the pedal is knowing when and how to use it. The only way to accomplish this is to practice your music without the pedal.

In the video included with this article I demonstrate how depending upon the pedal to connect notes instead of using your fingers can lead to sloppy playing and bad technique. But how can you avoid this?

The secret to connecting notes without the pedal is to develop a legato technique with both hands – not just with the melody but even repeated chords in the left hand. But why is this important?

If you can learn how to connect your notes just using your hands, you will be able to use the pedal to enhance your music tonally and make your melodies sing – you will find the best fingerings for passages, and rely on the pedal not as a crutch, and most of all, you will improve as a pianist.

This is a loaded question and it’s a topic that may cause controversy – especially among some piano teachers. There are different perspectives on this important subject. As always, I welcome everyone’s comments and suggestions when it comes to every topic we cover so please feel free to voice your opinion.

I also understand that some students can become frustrated by having to practice tedious exercises for hours and hours when they would much rather be playing music. But are these exercises in vain or is there a purpose to them?

Exercises are an important part of developing as a pianist. In many cases utilizing Hanon and Czerny can be a great way to develop strength in your playing. These exercises can help you develop pure technique without having to deal with nuanced expression, complex rhythms, melodies and countermelodies. By using Hanon or Czerny, you can learn exercises with lots of notes much much quicker than many piano pieces which can have additional elements of complexity not found in these exercises.

What about the relative value of learning exercises instead of learning music? A lot of times musical etudes – advanced ones such as Chopin or Moszkowski or student level etudes of Heller or Burgmuller – can provide the same benefit of strength building you get from Czerny or Hanon with the added benefit of providing pieces of music you can add to your repertoire.

There really is a balance you must reach when it comes to learning exercises versus learning music. In the early levels of studying the piano learning exercises provides a great way to develop strength. Hanon exercises can help you develop finger strength very quickly. The early exercises in the book are great for beginning pianist because you don’t have to deal with finger crossings or cumbersome musical challenges. It’s an easy and simple way to start playing the piano immediately developing strength in your fingers. Younger students can quickly master these exercises and prepare themselves for learning music.

Once you master all of your scales and arpeggios you can continue building strength simply by playing music. You will challenge yourself much more and develop your technique along with continuing to work on scales and arpeggios.

So yes, there are benefits to exercises, but you shouldn’t be relying on them as your only source of technical development. They provide a great foundation for building your technique but they are something you should augment with scales and arpeggios and substantial musical repertoire.

Many times you can actually create your own exercises by taking sections of music you have great difficulty with. Take these sections and generate patterns, bring out different voices, or create rhythmic variations to challenge yourself. Exercises come in all forms and sizes and you shouldn’t be afraid to create your own!

Welcome to another part in a series of videos offering you tips for selected piano repertoire. Bach wrote many Minuets in beautiful Baroque style and this one in particular is a wonderful little piece for even elementary level players.

A minuet is a dance form in meter of three and because it’s a Baroque piece it has nice counterpoint. The goal of this piece is to showcase great clarity while retaining a bouncy and dance-like feel. The secret to achieving this is how you execute the phrasing – specifically, how you articulate the staccatos and how you negotiate the slurs.

Like in many other pieces, the technique is accomplished with the wrist. You will want to use certain wrist techniques to clarify the staccato notes contrasting with the slurred legato notes. This might sound simple but many times when first approaching this piece you may unwittingly use the arm in conjunction with the wrist producing a muddled sound.

For this piece, the first beat should have more emphasis than the second and third beats in keeping with the dance form. By coming down with the wrist for the first beat on the staccato notes, you can create a very dynamic sound. By using the arms you will produce a heavier tone that doesn’t sound nearly as bright and bouncy as it should.

The way I would recommend playing this is to bring your wrist down on the first note and then quickly lift it back up on the staccato notes. If you watch the video attached with this article you will see some great examples of this wrist movement. It’s very important to not rely upon the arm for the up and down motion; it must come from the wrist!

You should keep the same motion for each individual staccato note: down, up, down, up. And remember that it’s only the wrist being utilized in these notes; not the arm. If you have to, hold your arm still with your other hand at first and play the notes only using your wrist.

When you hear short notes – on almost any instrument – this is usually called staccato. We are going to be discussing two types of staccato notes – one is single staccato notes and the other is slurs which end in staccato notes such as two note slurs.

For the video example above, I chose the last movement of Mozart’s K331 Sonata in a major which ends with the famous Alla Turca movement. This is a great piece for staccato demonstration and if you have the chance you may enjoy following along with the video.

The most important technique in playing staccatos is using the wrist. If you rely on the arms the notes won’t snap like they should – it will sound limp. The arms are simply too big and ponderous to rely on for this technique. But how do you approach the staccatos with your wrist?

In the case of a single note, you will want to place your fingers over the keys and simply use your wrist to play the notes. You will want to move ONLY the wrist; do not involve your arms at all except to carefully place the hands over the right keys. By practicing this technique and relying on the wrist, you can develop incredibly speed and fluidity.

When it comes to slurs that end in staccatos, you will want to achieve this is one motion. In this particular piece there is a two note slur that ends in a staccato. For this example you will want to play down for the first note of the slur, and then up for the staccato. The video above provides an excellent example of this. It doesn’t matter how many notes are in the slur, you will always want to go down with the wrist on the first note then come up on the staccato note.

When you put this all together, you will notice a very big change in the sound of the music. Your short notes will have a nice crisp sound to them – they will delineate themselves from the slurred notes.

Now, staccato doesn’t always mean short. It technically means detached. There are examples of slower music where the notes aren’t short but are simply detached from each other. This is an entirely different technique I will cover in a future video but for today, the examples above will help you start playing staccato like a pro.

Rubato is a technique typically used during Romantic period music, such as Chopin, Schumann, and other composers. It is not something used as much during baroque or classical era music: Bach, Mozart, Haydn, and others.

Simply put, Rubato is a give and take in the timing of music – it adds an expressive element. Some people make the mistake of gaining or losing time when it comes to implementing rubato; this is not what rubato is at all. Instead of gaining or losing time, it’s simply playing ahead or behind the beat but always coming back to the correct time. This provides an incredible amount of tension and release to the music.

In the video example above I play the Chopin Nocturne in b-flat minor both with rubato and without. You will notice that you can tap along to the beat of the music whether I am playing with rubato or not. This is something to keep in mind, when playing rubato. You should be able to tap along rhythmically even with the give and take of the beat.

If you lose the pulse, your music will die. What does this mean? It’s not the eight notes; it’s the longer notes that create the pulse of the music. When playing rubato it is important to keep the pulse.

My father demonstrates rubato playing with the metronome getting ahead and behind of the metronome without losing a beat! This is an incredibly difficult skill to master but it can bring your music to new levels. The secret to playing good rubato involves being able to feel the large beat and not just the subdivisions. You will find that you have a lot of freedom to mold the tempo and add an expressive element while keeping the pulse alive!