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Welcome to LivingPianos.com, I’m Robert Estrin. Today we’ll explore the fascinating world of non-chord tones and how they can enrich your musical compositions. If you’ve ever attempted a harmonic analysis of your music—essentially identifying the chords that underpin your pieces—you might have encountered some challenges. I’m here to guide you through these obstacles and show you how to successfully analyze harmonies to deepen your understanding of your music’s structure.

Understanding Harmonic Analysis

To begin, let’s discuss the fundamentals of harmonic analysis. In Western harmony, most music is built around chords formed from intervals of thirds. This means that every other note in a scale contributes to the construction of chords. For example, in a C major triad, we have the notes C, E, and G. Sometimes, chords can be inverted, which can create confusion when trying to identify the root note. If you encounter a C major chord with the C note on top, simply rearranging the notes will reveal the root by putting C on the bottom. This arranges the notes in thirds with every other letter of the alphabet. On the staff, chords in root position will be on all lines or all spaces.

Identifying Non-Chord Tones

However, you may find notes that don’t seem to belong to the chord; these are known as non-chord tones. In more advanced harmonies, especially those from the 20th century, such as those by Debussy, Ravel, and various jazz composers, any note can potentially function as part of a chord, adding complexity and depth to the music. For instance, a 13th chord in C could include all the notes from the C major scale, demonstrating just how expansive chord structures can be. But if your focus is on the classical composers—from Bach and Mozart, to Tchaikovsky—the techniques I’ll share will be particularly relevant.

Exploring Types of Non-Chord Tones

Let’s delve into several types of non-chord tones, each contributing to the music’s beauty and tension.

Passing Tones

Passing tones are approached by step and resolved by step in the same direction. For example, in a C major chord, the note D does not belong but creates a smooth transition between C and E, enhancing the harmonic movement.

Neighbor Tones

Neighbor tones are similar; they are approached by step and resolved by step in the opposite direction. For example, if you have a C major chord, the note F would serve as a neighbor tone, returning to the tone of the chord afterward.

Suspensions

Suspensions are approached by the same note and resolved downward by step. For instance, starting with an F major triad and adding a C note that doesn’t belong creates tension, which resolves beautifully to B, and ultimately to C major.

Retardation

This one is less commonly used, but it is another non-chord tone. Retardations are approached by the same note and resolved upward by step.

Appoggiatura

Appoggiaturas are approached by leap and resolved by step. They can resemble grace notes in your music, but they shouldn’t have the little line through them. Appoggiaturas are little notes that are longer than grace notes.

Escape Tones

Escape tones are approached by step and resolved by leap in the opposite direction. For example, moving from a C major chord to an F note (non-chord tone) and then leaping to another chord tone can create a lovely tension.

Anticipations

Anticipations, on the other hand, are approached by step and remain on the same note, creating a sense of expectation that resolves nicely into the next chord.

Pedal Point

Finally, let’s consider pedal point, which derives its name from the organ. An organist will push down a low pedal and leave it down while playing all sorts of harmonies above it. Some of the chords above will be part of the pedal tone harmony, and others will not. This creates a rich texture, enhancing the overall harmonic experience.

Putting It All Together

When analyzing your music, start by organizing the notes into thirds, keeping in mind that chords may be inverted. Look for notes that don’t fit the established harmonies—these are likely your non-chord tones. Understanding how these tones resolve back to the chord tones will illuminate the harmonic structure of your music. By recognizing and analyzing non-chord tones, you can appreciate their role in creating tension and beauty in your compositions. This process not only aids in performance but also enhances your overall musical understanding. If you have any other ideas about non-chord tones, leave them in the comments here at LivingPianos.com and on YouTube! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store.

Welcome to LivingPianos.com, I’m Robert Estrin. Today we’ve got a story that will blow your mind. It’s about one of the wildest scandals to ever hit the classical music world. It’s got everything—deception, stolen recordings, and a secret that fooled everyone for years. We’re talking about the unbelievable case of Joyce Hatto. Let’s dive in!

Joyce Hatto was a British pianist who had a pretty standard career early on.

Later in life, she stopped performing because of illness—or so we thought. Then, in the early 2000s, she suddenly started releasing an insane number of recordings. And not just any recordings—these were brilliant performances, covering a wide range of the most difficult piano repertoire. Critics were stunned. People couldn’t believe how amazing these recordings were, coming from a pianist who had been out of the game for so long! But here’s where it gets crazy.

The recordings? They weren’t hers!

Her husband, William Barrington-Coupe, was the mastermind behind it all. He took recordings from some of the world’s top pianists, made slight tweaks to them, and passed them off as Joyce’s own work. It’s hard to believe, but some truly incredible artists got caught up in this. Take Minoru Nojima, for example—his breathtaking performance of Liszt’s Transcendental Études was passed off as Hatto’s! I actually went to school with him. Minoru was one of Constance Keene’s star pupils at the Manhattan School of Music, and he had won the Van Cliburn Competition. We were in masterclasses together, and let me tell you—he’s an unbelievable pianist.

But it didn’t stop there. László Simon’s recording of Rachmaninoff’s Piano Concerto No. 2 was stolen, and even Yefim Bronfman’s epic rendition of Rachmaninoff’s Piano Concerto No. 3 was used. These are top-tier pianists, and their work was being passed off as someone else’s—right under everyone’s noses’

So how did this all get exposed?

It wasn’t until 2007 that someone noticed something was off. A sharp-eared reviewer thought one of Hatto’s recordings sounded awfully familiar. The deception was discovered when playing one of Joyce Hatto’s CDs in iTunes. It came up as belonging to a completely different pianist. So, they used audio fingerprinting technology and it revealed that many of the recordings released under Hatto’s name were actually taken from other pianists, with slight modifications to disguise them. This discovery unraveled one of the biggest frauds in classical music history. Can you believe that? For years, people were raving about these recordings, thinking they were hearing a miraculous comeback from Hatto. But instead, it was a cut-and-paste job by her husband, who had taken bits from other pianists’ recordings, made a few sneaky edits to disguise them, and released them as Joyce’s.

People were genuinely heartbroken when they found out.

Welcome to LivingPianos.com, I’m Robert Estrin. Have you ever noticed how rarely performers sneeze during a performance? Whether it’s a solo piano recital or a lengthy musical piece, sneezes seem almost non-existent. But why is this the case?

The Power of Concentration

One reason might be the intense concentration that performers experience. When musicians are deeply focused on their performance, their awareness of physical sensations, including the urge to sneeze, seems to diminish. This level of focus can be so absorbing that it overrides many of their bodily functions.

A Fascinating Story from the Stage

To illustrate this point, let me share an intriguing anecdote about a former student of mine. While he was still a teenager, he gave a remarkable performance at a recital. In the middle of a particularly demanding Beethoven piece, something unexpected happened—he started to experience some nasal congestion.

As he continued to play, his nose began to run. Despite this discomfort, he had no choice but to continue performing. His dedication was evident as he played on with remarkable skill and composure, even though the long string from his nose had to be devastating for him!

Limits of Control

This experience highlights an interesting fact: even with immense concentration, some bodily responses are beyond our control. Though sneezing is a natural reflex, the ability to control it completely during high-stress situations like performances remains limited.

Have You Ever Seen a Performer Sneeze?

It’s worth asking: Have you ever witnessed a pianist or any instrumentalist sneeze while performing? It’s a rare occurrence, and for wind players, it could be quite problematic. Nonetheless, it underscores the remarkable focus and discipline required of performers.

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s question is: What can you do with a bad piano? Having a piano that doesn’t meet your expectations can be frustrating, whether you want to restore it to its former glory or simply need to find a new home for it. This article explores two primary scenarios you might face with a less-than-ideal piano and provides practical advice for each.

Restoring a Piano to a Higher Quality

If you’re hoping to transform your current piano into a better instrument, there are a few steps you can take. First, consider consulting a piano technician. An experienced technician can assess whether your piano, which might have been a high-quality instrument in its prime, can be restored to a better state with some servicing.

However, if your piano is significantly deteriorated and requires major repairs, be prepared for potential challenges. Restoration can be costly and may not always yield predictable results. The end product might feel and sound quite different from your original piano, and the costs involved could exceed the value of the instrument.

An alternative approach is to sell or trade in your piano. Many piano dealers, such as Living Pianos, accept trades and can help you find a replacement that better suits your needs. This option allows you to know exactly what you’re getting with your new piano.

Dealing with an Unwanted Piano

If you have a piano that you no longer wish to keep, perhaps because it’s been neglected or simply takes up space, there are several options to consider:

1. Selling the Piano: The possibility of selling the piano depends largely on its condition. If it doesn’t look or sound good, finding a buyer might be difficult unless it’s a high-end brand like Steinway or another premium brand with restoration potential. For a lower-end piano, platforms like Facebook Marketplace, Craigslist, and eBay are good starting points.

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to address an important and thought-provoking viewer question regarding young musical prodigies. This inquiry delves into the future of these exceptionally talented children and the challenges they may face as they grow older. Let’s explore this topic in depth.

The Dilemma of Child Prodigies

Recently, a viewer asked about the long-term outcomes for children who display extraordinary musical talent at a young age. Specifically, they questioned what happens to these prodigies when they do not pursue a career as professional musicians. Their concern stemmed from a personal experience where a talented young musician, once on track to join an orchestra, abandoned music entirely. This raises a poignant question: what becomes of these highly skilled children who may not continue in the field?

The Harsh Reality of a Musical Career

The music world is highly competitive. Many musicians graduate from prestigious conservatories worldwide, all aspiring to secure a spot as a professional performer. Unfortunately, the number of available positions does not match the number of qualified candidates. A study of Juilliard graduates found that 80% were not pursuing a career in music a decade after graduation. This underscores the intense challenge of sustaining a career solely as a performer. However, not all is lost.

Alternative Paths in Music

Many musicians find creative ways to incorporate their skills into alternative career paths. This might include teaching, accompanying, composing for various media, or performing in different settings. The key is adaptability and innovation. Some may even explore new forms of artistic expression, combining music with technology, multimedia, or other art forms to create unique experiences.

The Impact of Early Training

The experience of child prodigies can vary greatly. Some may thrive and continue to pursue music passionately throughout their lives, while others may struggle with the pressures and expectations placed upon them. For instance, my former teacher, Ruth Slenczynska, a renowned child prodigy, initially stepped away from music due to a challenging childhood before eventually returning to her career. This highlights how personal experiences and pressures can influence one’s relationship with music.

Embracing Individual Journeys

Ultimately, whether a child prodigy continues in music or chooses a different path is a personal decision. A nurturing environment can foster a lifelong passion for music, but even with such support, individuals must decide for themselves how they wish to incorporate their musical talent into their lives.

Feel free to share your own experiences or thoughts on this topic in the comments here at LivingPianos.com and on YouTube! It’s a fascinating subject with many layers to explore. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. Thanks for joining me!