Piano and Music Videos

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about why corrections are so hard on the piano. You may have had this experience where you have something in your music you learned wrong or something doesn’t quite come out right. So you correct the mistake. You cement the correction. You do it over and over again until you get it perfect. You can play it ten times perfectly, no problem at all. Then you play for your teacher or at a performance and the same mistake comes back! You corrected that mistake, so how could it possibly come back to haunt you?

Why do old mistakes come back?

I’m going to give you a parallel here. Imagine there is a job you drive to every day for months, maybe years. Every day you get in your car and you go the same way. You’re so used to that route you don’t even have to think about it. That’s the problem! Because then let’s say you get a new job. You have to take a different way. But you’re so used to the old way that you end up making a wrong turn. You know which way you’re supposed to go, but it’s early in the morning and your mind is on other things. You end up reverting to the old way. The same thing happens in your piano playing! Just because you can play a correction ten times in a row, as an abstraction by itself in your practice with nobody there, doesn’t mean it is 100% solidified. The way you played it hundreds of times before, or that route you drove 100 times before, is still back there in your brain. It’s there, and it can come out at any time.

Correcting mistakes involves more than just correcting the mistakes.

You have to learn to be aware of the correction at the time it comes. During a musical performance in particular, when there are many distractions and perhaps a little extra nervous energy, you might revert back to something that you can’t even believe you would do. So what’s the answer to this? Of course, practicing incessantly on the correction until it’s ironed out is crucial. But there is more to it than that. You need to be aware when you get to the correction, just like being aware when you’re driving so you don’t make a wrong turn. Make a mental note so you’re aware of it when you get there. By doing this, you are present at that moment to incorporate the correction. You already know you can do it. You just need to keep the presence of mind to execute it when it comes.

I hope this is helpful for you! Let me know how you feel about this in the comments here at LivingPianos.com and on YouTube. Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about the importance of relaxation in playing music. Now, this isn’t just about piano. This relates to all instruments. There are so many aspects to this. You hear about relaxation all the time. You’ve probably heard people say you should relax when you play. Of course, you want to avoid injury. It’s bad to do almost anything with tension. But there’s much more to it than that!

If you’re a weak player, sometimes you might contort just to make the notes come out!

If you have spaghetti fingers, like I did as a child, you may be contorting just to get the sound you want. This has to be avoided! It’s very difficult to avoid tension until you develop the fluency and strength to approach the keyboard in an ergonomic manner. It’s also vital to be as relaxed as possible. But it’s even deeper than that.

There are some obvious parallels to other instruments.

If a singer has tension, you can hear it in their voice. It’s a horrible sound! The tension adds ugliness to the tone. This is equally true on wind instruments. Listen to somebody who’s trying to play a trumpet or a clarinet with a closed throat. That tension is going to come through in the tone. The same thing is true for a violinist playing with tension. And it’s the same thing with the piano. That’s the remarkable thing. On the piano you can hear tension! And not just in a beautiful melody. If you play chords or melodies with tension, compared to playing them without tension, you can really hear the difference!

Make sure to play in a relaxed manner.

Whether you are playing a beautiful melody delicately, or big chords with power, you want your playing to be relaxed. You want to feel at one with the instrument. Experiment with your playing! When you sit at the piano, take that extra time to adjust the bench to the right distance from the keyboard. Make sure you’re sitting at the right height. Consciously take a breath and relax before you begin playing. Concentrate on relaxing your neck, shoulders, and arms. Play in a relaxed manner and listen to the difference of the sound. See what you notice in your playing. Let me know how this works for you in the comments here at LivingPianos.com and on YouTube! Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Welcome to LivingPianos.com, I’m Robert Estrin. Today the subject is about what it means to be musical. Sometimes you hear people say an artist is so musical. What does that mean? Well, there’s a lot to unwrap here! 

The piano has so many different facets of abilities that are necessary in order to be able to play successfully. 

You might think that somebody who has really good technique must be musical. But technique is something I put under the umbrella of musical abilities or even musical intelligence. Good technique doesn’t necessarily equate to being musical. It does indicate talent for the instrument. Another aspect is security in performance. There are some people who just play their best in front of people. They are good performers, but are they musical? That is really something different, isn’t it?

If a performer doesn’t have security in their performance, it’s difficult to be musical. 

Just like if they don’t have technique, how are they going to be able to express anything? There are other aspects too. You need to be able to digest the score. It is crucial to be able to look at a piece of music and make sense of the structure of the piece. Once again, that’s musical intelligence. These are all important aspects of piano playing. All of these things are related. They really are important. How could you possibly be musical if you can’t digest the piece, if you can’t hold it together, or if you don’t have the fingers to be able to to execute the music? But assuming all of those things are there, what does it mean to be musical?

I believe being musical is being able to elicit emotions in the listener. 

There are some people who are astoundingly accomplished at the piano. They can play the most difficult music with fluency and security. And yet maybe they leave you cold. But sometimes there’s a student, maybe even a young student who doesn’t have much technique or experience, and they don’t even necessarily do all the things that should be done in a piece, but there’s a beauty to their playing. It makes you feel something! It brings a smile to your face, or maybe sadness. Their playing makes you feel emotions. This is something that is really elusive to describe. It’s even more difficult to teach. 

A certain amount of this is inborn. 

A certain amount cannot be learned. But like many other things in life, someone who is naturally musical can become more musical by exposure. With good training, and by listening to other musicians who are more accomplished than they are, they can grow musically. Somebody who just doesn’t have much sense of where the music should go, maybe they can learn a great deal. Their musicianship and their ability to elicit emotions and create excitement or sadness can be improved. But somebody who has very little of that natural ability will have a tougher time with musicality. 

Everybody can improve! 

This doesn’t just go for musicality, for lack of a better word, but all aspects of piano playing can grow. Technique can be improved. Security in performance can be improved. The ability to digest a score can be improved. All of these things can be improved along with that elusive musicality. So don’t fret if you are lacking in one or more of these skill sets. They all can be developed! Nobody has all of them in spades. Everybody has to mitigate their weaknesses and develop their strengths. Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how to practice with a metronome when there are ritards and other tempo changes in your music. But you want to practice with a metronome to make sure you’re playing well overall. How can you do that? Should you program a metronome? There are some metronomes that are very sophisticated. Or you can work with a digital audio workstation. You could program exactly the amount of speeding up and slowing down in the score. But that would take a lot of time. I have a much easier way to address this!

First, play along with the metronome without any tempo changes!

In the accompanying video, I demonstrate with a student piece by Cuthbert Harris called Graceful Dance. It has a little bit of a ritard just before the recapitulation, just before the return of the first theme. I want to discuss how you can deal with this with a metronome. If you are practicing with the metronome, you could play it first without the ritard at all. Because one of the most important things of any tempo changes in your music is to know how much you’re doing. If you never play it with the metronome, you won’t know how much ritard you’re doing. So first thing is to play it with the metronome with no ritard at all.

How could you possibly do a ritard with the metronome ticking?

The secret is to allow yourself to get off from the metronome. Then get back on the next measure in as elegant a way as you possibly can. It might not work out exactly the same each time. You may have to make little concessions. But that’s fine, because you get the benefit of being able to play through the piece with the metronome. In pieces that have a lot of little subtle changes of tempo, this technique can be invaluable! Because otherwise you can’t practice with the metronome at all.

The most important thing you can do when working on a piece that has tempo changes is to first play with no tempo changes.

I can’t tell you how many times I’ve had students play with huge ritards. If you never check back with the metronome, you have no idea how much you’re changing the tempo. The metronome gives you an idea of the subtlety of your ritards and accelerandos, or if they’re becoming excessive. First play it right with the metronome. Then play with the tempo changes. Don’t worry about getting off from the metronome. Just get back on as soon as you can. You too can practice music that has tempo changes with the metronome in the manner I just described!

I hope this is helpful for you! Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m going to give you some secrets of balance on the piano. What am I referring to about balance? Piano is one of the few instruments where you can play many different notes at the same time, and you’re able to bring out different notes within a chord or within a musical texture. This is one of the great things about the piano! 

You can bring out different notes within a chord.

This can be easily demonstrated by playing a simple C major chord. If you’re playing C, E, G, and C with your left hand, as well your right hand, there are many different ways of approaching the voicing. How is this possible? You can bring out every single note of the chord one by one playing exactly the same chord and bringing out different notes within the chord. This is how you can create whatever musical texture you are after. This is akin to a conductor creating a balance out of the orchestra getting just the sound they’re after. You can do the same thing at the piano. But there is one very important acoustical property you must be aware of on the piano. 

Balance is different playing loud compared to playing soft. 

Chopin’s C Minor Prelude starts off with massive chords that are marked fortissimo. Later it goes down to piano. At the very end it goes even softer to pianissimo. When playing the fortissimo part of this prelude, using all the energy equally on all the keys, the melody will come out loud and clear. But when playing the pianissimo section, which is almost the same chords, the melody will be lost when giving equal energy to all the notes. But by delineating the top notes by reaching with the 4th and 5th fingers, and leaning the weight of your hand to the right side, you can bring out the top notes creating a beautiful balance. So here’s the key: When playing loud, the top notes project well. But if you play the exact same chords quietly with equal balance, the melody is lost. So you want to bring out the melody notes when playing softly, delineating the melody compared to accompaniment. 

The softer you play, the more extreme the delineation of melody notes must be. That’s the secret!

So that is one secret of balancing on the piano. The softer the playing, the more extreme delineation you must have for melody compared to accompaniment. It’s just the acoustical property of the piano. I hope this helps you! 

Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how playing fast is easier than playing slowly. You might think that’s crazy. Of course, it would take more work to be able to develop speed in your playing. There is some truth to that. But once you do have some speed and fluency in your playing, have you ever tried to go back and play slowly again? It can be really difficult! There are a lot of reasons for this. We’re going to discuss this and what you can do to help your playing.

Once you’ve played a piece many times, your fingers just know where to go.

Years ago I made a video about how playing your scales should be on autopilot. I likened it to learning how to walk. You see toddlers taking their first steps. The concentration on their faces is unbelievable! Of course, once you learn how to walk, you really don’t think about it. It’s almost involuntary. You can be thinking about other things while you’re walking once you learn how to do it. Well, the same thing is true of scales! It’s also true of all the music you play. You get to a point where your mind is wandering, but your fingers keep going. That’s actually a good thing in some respects. If you didn’t have that to rely upon, it would be hard to be focused 100% of the time. But naturally, you can’t depend upon that motor memory, finger memory, muscle memory, whatever you want to call it.

When you play slowly, it’s harder to think through everything.

When you slow things down, every single note becomes very obvious. But there’s another reason why playing fast is easier than playing slowly. I’m not even talking about the solidity of how well you know the score. I’m talking about musical considerations. When you’re playing slowly, it’s very difficult to even know where the line is. For example, Chopin’s E Minor Prelude. Playing that piece slowly and trying to get a sense of the rise and the fall of the line is all but impossible. It’s very difficult to maintain a line playing under tempo.

All music really is reflective of the human voice.

All instruments are an extension of the instrument we all carry with us. Naturally, wind instruments are a direct analog to the human voice, because the breath is involved. It’s a natural extension. Bowed instruments, like a violin or cello, have the continuum of the bow against the strings. On the piano, it’s a challenge to create that continuum of sound. But imagine a wind player or a singer trying to sing a song much slower than its normal speed. It would be hard to sustain the phrase. You would run out of air! It would be hard to get a sense of the line. That same Chopin prelude played at a faster tempo, with the pulse of the quarter note or even the half note, makes it much easier to feel the musical line.

Once you know a piece, it’s so much easier to play it faster, because you can get a sense of the line.

The challenge is gaining enough fluency that you can play up to speed. Sometimes it helps just trying to play something up to tempo. Even if it’s not totally polished, playing it up to tempo helps you know what you’re working for. Of course, you don’t want to repeat sloppy playing again and again. You may even want to play just the right hand, just to get the feel of the phrasing. Once you understand the intention of the music, your practice is so much more productive. You want to know what you’re aiming for. So think of your music up to tempo, even if you can’t quite play it yet. Try to play it up to speed so you get a sense of the music. Your practice is always in service of the music.

That’s the message for today! I hope this works well for you. Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com