Piano and Music Videos

I’m Robert Estrin. Welcome to LivingPianos.com. What if I told you that taking more breaks during practice could accelerate your learning? It might sound counterintuitive, but let’s explore the science behind this approach.

Understanding Spaced Practice

Practicing in smaller chunks of time can be so much more productive than one massive practice session. Now, if you are accomplishing a great deal when practicing, there is no need to stop! However, studies show how intervals between practice sessions can enhance your memory consolidation. There is science behind the breaks.

The Science Behind Breaks

The brain processes and stores information during rest periods. Did you know that what you think about before going to sleep has a way of solidifying in your memory? You can even try taking breaks in your practice during the day and then take a walk or do another activity that doesn’t involve active concentration. Your memories become assimilated in your brain! But you might wonder how to implement effective breaks.

Implementing Effective Breaks

Try alternating intense practice sessions with other activities during breaks that can aid in mental rejuvenation, such as light physical activity, meditation, or any kind of deep relaxation where you clear your mind.

By embracing spaced practice and incorporating regular breaks, you allow your brain to process and store information more effectively. So, remember, sometimes stepping away from the piano is just as important as sitting down to play!

Think a metronome is just a ticking clock? Think again! This simple tool is far more than a mechanical timekeeper. Used thoughtfully, it can transform your practice sessions and enhance your musicality in surprising ways. Let’s explore how to use the metronome not just to stay in time, but to truly elevate your playing to the next level.

Beyond Keeping Time

Beyond keeping time, a metronome can help you develop internal rhythm, precision, and dynamic control. No one has a perfect clock within them—timing is something that must be nurtured and refined through mindful practice. You must develop your sense of timing and constantly check your work with the metronome. It’s like having a musical accountability partner! Techniques like shifting the beat or using it to emphasize off-beats can deepen your rhythmic understanding and help you stay grounded no matter how complex the music gets.

Advanced Metronome Practices

Explore advanced metronome practices to elevate your playing. Use it to challenge your timing and improve your rhythmic accuracy. If your piece is in 4/4 time, you can start by having quarter notes ticking. Then you can make the metronome tick at half the speed and allow half-notes to tick. You can also go the other way and double the time to allow for subdivisions of the beat with eighth notes ticking. These strategies will enhance your rhythmic feel. By exploring these techniques, you’ll not only play in time but also enhance your musical expression and responsiveness.

Another valuable technique is finding a speed at which you can play with total security. Then gradually increase the metronome one notch at a time. You won’t even notice the change of speed! But you can get difficult passages up to speed effortlessly using this method.

Where is your mind during practice? On your fingers, the notes, or the music’s emotion? Let’s take a moment to explore how the direction of your attention can dramatically enhance the quality of your playing.

Understanding Attentional Focus

It’s easy to get caught up in the mechanics of playing—the fingering, the rhythms, the accuracy. While these are essential components of learning, directing your attention externally—toward the sound you’re producing and the emotional content of the music—can lead to more expressive and ultimately more effective performances. This concept of attentional focus plays a significant role in how we internalize music and communicate it to others.

When your attention is turned inward, it’s often about control—trying to get your fingers to do the right thing. But when you focus outwardly on the music, you’re allowing your ears and imagination to take the lead. This can free your playing and allow your technique to serve the music, rather than the other way around. You enter a state of flow.

Implementing External Focus

By shifting your focus to the music itself, you engage more deeply with your instrument. Use active listening. This can be very challenging for pieces you have been working on for a long time. Try to have fresh ears by bringing new ideas to your music, whether it’s playing at a faster or slower tempo than usual, or louder or softer, or with a different balance of the hands. All of these techniques will help you stay tuned mentally to your music. This approach encourages a more holistic understanding of your pieces and fosters a stronger connection with your audience.

The Payoff

By embracing external attentional focus, you not only improve your technical skills but also elevate your musical expression, leading to performances that resonate with both you and your listeners.

I’m Robert Estrin. Welcome to LivingPianos.com. Does the thought of performing from memory make your palms sweat? You’re not alone! For many musicians, the idea of walking onstage without sheet music feels like stepping off a cliff, but there are strategies to make memorization less daunting. With the right approach, memorizing music doesn’t have to be scary — and it can actually become one of the most empowering parts of your musical journey.

Understanding Memory in Music

Memorization can be intimidating, but understanding how memory works can ease the process. It’s not just about brute-force repetition. Techniques like chunking, visualization, and associating emotions with music can strengthen your recall.

Strategies for Effective Memorization

I’m Robert Estrin. Welcome to LivingPianos.com. Have you ever heard of a keyboard instrument that can play the notes between the keys of a piano? Or one that stands upright like a bookshelf? Today, we’re taking a journey into the fascinating world of early keyboard instruments—each one a stepping stone on the path to the modern piano. And wait until you hear about the last one—it’ll blow your mind!

The Clavicymbalum: An Early Harpsichord Prototype

Let’s begin with a remarkable instrument dating back to the 14th century. A direct ancestor of the harpsichord, the Clavicymbalum combined a keyboard interface with a plucked string mechanism—so when you pressed a key, a plectrum would pluck a string, producing a bright and resonant tone. What made it stand out? It had no dampers. So even after you lifted your fingers off the keys, the strings would continue to ring out naturally, creating a lingering, ethereal sound that would fill medieval halls.

This simple yet elegant design set the stage for the development of more advanced plucked keyboard instruments like the virginal and, eventually, the harpsichord.

The Clavicytherium: An Upright Marvel

Next, let’s talk about the Clavicytherium—think of it as a vertical harpsichord. Instead of the strings lying flat like most keyboard instruments, the strings and soundboard stood upright, facing the player. Not only did this design save space, but it also created a more direct sound.

Of course, this vertical layout introduced mechanical challenges. For instance, the part that plucks the strings—the jack—needed a complex mechanism to return to its resting position, since gravity couldn’t help as it does in horizontal instruments.

One of the earliest known examples of the Clavicytherium, dating back to the 1480s, is housed at the Royal College of Music in London. If you’re ever in the area, it’s well worth a visit!

The Archicembalo: A Keyboard From the Future

And now, the instrument that truly defies expectations: the Archicembalo, invented by Nicola Vicentino in 1555. This extraordinary creation was centuries ahead of its time—and in many ways, still is. What sets it apart? It features two manuals (keyboards), each with 36 keys per octave. Yes, you read that right—thirty-six! That’s three times the number of keys per octave found on a standard piano.

Why so many keys? The Archicembalo was designed to explore microtonality—the notes between the notes. This opened the door to tuning systems and scales that are completely impossible on today’s modern instruments. Vicentino created it specifically to delve into the chromatic and harmonic genres of ancient Greek music, offering expressive possibilities that were truly ahead of their time.

More Than Just Curiosities

These instruments aren’t just historical oddities. They are milestones in the evolution of musical expression. They remind us that the search for new sounds and deeper expressiveness isn’t just a modern pursuit—it’s as old as music itself.

So, the next time you sit down at your piano, take a moment to appreciate the rich history behind it—a legacy of innovation, exploration, and expressive possibility that spans centuries of keyboard evolution.

Thanks for joining me on this musical time travel. Be sure to subscribe for more explorations into the fascinating world of keyboard instruments and piano. See you next time here at Living Pianos, Your Online Piano Resource!

I’m Robert Estrin. Welcome to LivingPianos.com. Today I’m asking: Why is there no G-sharp major scale? This is a great question—and one that actually dives into some interesting aspects of music theory. Let’s explore why you won’t find a G-sharp major scale (at least, not one that’s used in practice) and why certain key signatures just don’t make much sense on paper.

Understanding Key Signatures

If you know your key signatures, you know that C major has no sharps or flats. From there, as you move up through the circle of fifths, each key adds a sharp:

Eventually, you get to C-sharp major, which has seven sharps. That scale is spelled:
C-sharp, D-sharp, E-sharp, F-sharp, G-sharp, A-sharp, B-sharp, C-sharp.

At this point, every single note in the scale is sharp. But it’s still considered readable because each note follows the natural diatonic order—no skips or repeats in letter names, which puts all the notes from line to space to line to space, etc.

At this point, every single note in the scale is sharp. But it’s still considered readable because each note follows the natural diatonic order—no skips or repeats in letter names, which puts all the notes from line to space to line to space, etc.

Why Not G-Sharp Major?

Now, here’s where it gets weird. What happens if you try to make a G-sharp major scale?

You’d get:
G-sharp, A-sharp, B-sharp, C-sharp, D-sharp, E-sharp, F double-sharp! G-sharp.

Yes, you read that right—F double-sharp. That’s because, to maintain the proper diatonic structure (one note name per step), you can’t substitute a G for the F-double sharp, even if it sounds the same. The result? A scale that’s technically correct, but extremely awkward to read and write.

It Gets Even Crazier

If you continue up the sharp side of the circle, things spiral into theoretical madness:

–D-sharp major would require nine sharps, including C double-sharp and F double-sharp.

-E-sharp major would need eleven sharps, including a G double-sharp.

These aren’t practical keys—they’re just theoretical exercises at that point. Trying to read music in one of these keys would be confusing even for professional musicians.

What About Flat Keys?

t’s not just the sharp side that gets strange. Flat keys also have their limit.

F major has one flat (B-flat). If you go all the way to C-flat major, you get seven flats:
C-flat, D-flat, E-flat, F-flat, G-flat, A-flat, B-flat, C-flat.
Still manageable.

But try going to F-flat major and now you’re dealing with a B double-flat and even F-flat itself—which is really just E. Again, not something you’d want to read from sheet music.

So Why Stop at C-Sharp and C-Flat?

Music notation is designed to be as intuitive as possible. Scales are spelled with each note name used exactly once. This way, when you see a scale on the page, it moves from line to space to line—visually clear and logically laid out.

Once you start introducing double sharps or double flats just to keep up this visual rule, the usefulness breaks down. It becomes more confusing than helpful, which is why composers and educators avoid keys like G-sharp major or F-flat major.

So, why isn’t there a G-sharp major scale?

Technically, there is—but it’s so impractical and convoluted with double sharps that it’s never used in real music. Instead, we use A-flat major, which sounds the same as G-sharp major but is far easier to read and write. Maybe you never thought about this before—but now that you know, doesn’t it make sense? Leave your thoughts in the comments at LivingPianos.com or on YouTube.