All posts by Robert Estrin

Yamaha Pianos Vs. Kawai Pianos – Which is Better?

Two of the most popular piano companies in the world, Yamaha and Kawai, have competed with each other for decades. Many people wonder which piano is better. Despite this being a controversial topic, we are going to answer this in an honest way.

Both of these companies are based in Japan and have been around for around 100 years. They are also the two largest piano manufacturers in the world. Both the longevity and output of pianos is simply stunning and both companies are well respected within the piano community.

Yamaha and Kawai both have factories in different countries and each one outputs different models and types of pianos. When it comes to judging these companies side-by-side you really have to make sure you’re comparing apples to apples.

There is no point in comparing a promotional level Yamaha piano to a hand-made Shigeru-Kawai, just as comparing a top of the line Yamaha S series to an Indonesian-made Kawai has no value. Each company has different tiers of pianos – from the most affordable basic models to ultra-high-end performance models.

So if you’re comparing similar styles and models of pianos between the two companies, which is better? Honestly, it comes down more to personal taste than anything else. However, there are some guidelines for you to follow to see which brand is right for you.

Many people are drawn to the clarity of tone of Yamaha pianos – sometimes perceived as a bright sound. That’s why it’s a very popular choice for pop and rock musicians (such as Elton John). The sound of Yamaha’s are able to cut through a mix better than other pianos which can be of real benefit for some styles of music. The actions on the pianos are also first class.

Kawai pianos are also known for their actions – including their Blak series which contain composite materials. Many people are drawn to Kawai pianos which tend to have a warmer tone than Yamaha pianos.

Whether a piano is bright or warm can also have a lot to do with the voicing of the instrument (the hardness of the felt on the hammers). However, there are general tendencies of sound that are evident. The characteristics of Kawai pianos being warm and Yamaha pianos being bright are not universal. Each piano has to be assessed for what it is. The size, model, voicing and the unique sound of each instrument comes into play.

There is a lot more to determine when selecting between Kawai and Yamaha pianos, but it really comes down to personal taste and the exact pianos you are comparing. Both Yamaha and Kawai make pianos on all levels from entry-level to concert instruments. When you find a piano you love, it’s the right piano whatever the brand name.

Thanks again for joining us here at Living Pianos. If you have any questions about this topic or any others, please contact us at: Info@LivingPianos.com (949) 244-372

Diminished 7th Chord – Part 2 – The Deceptive Diminished 7th

Welcome back to my two-part series on Diminished 7th Chords. Last week we talked about What a Diminished 7th Chord is and today we’re going to get a bit more in-depth about how and why the diminished 7th chord can be deceptive.

Last week we talked about how you can’t really invert a diminished 7thchord because it’s all minor thirds. There are however three ways to resolve these chords.

The first way to resolve a diminished 7th chord is to resolve it upward by a half step. So a B diminished 7th chord would resolve to C major or minor.

The next way to resolve diminished 7th chords is rather fascinating. If you lower any note in a diminished 7th chord by a half step and you will get a dominant 7th chord which can resolve in its usual manner from V7 to I. In C major, a G7 would resolve to a C major triad.

This might seem overwhelming but this is what makes the diminished 7thchord so deceptive yet so intriguing. It’s a wonderful chord and tool to use for improvisation and it’s one indicator of where a piece is going and the structure behind it.

The last way to resolve a diminished 7th chord is truly deceptive. You can take any note of a diminished 7th chord and make it the root of a major or minor triad. Try this out and you will be amazed a the unexpected sound!

This is a complex lesson and it would be a good idea to watch this video and try out the different resolutions so you can hear them. To recap: You can’t invert a diminished 7th chord because it’s all minor thirds even when inverting. There are three ways to resolve a diminished 7th chord. These chords are incredibly useful tools for many musical applications and it’s a great idea to get familiar with them and how they work. Once you understand the concepts behind them you will find it easier to understand them when you encounter them in your music.

Thanks again for joining me Robert Estrin Robert@LivingPianos.com. If you have any further questions please feel free to ask and I look forward to bringing you more of these videos.

My Father’s Steinway

This past year has brought many people and pianos together. But there is one that is set apart from the rest – my father’s Steinway. When my sister Coren and I were in high school, my father bought a new Baldwin 7-foot grand piano. So, my father’s Steinway baby grand (model S) went upstairs for us to practice on. This instrument had great sentimental attachment for my father. His father bought it for him in 1939 for $900 on credit. There were many times the struggle to make those payments cast in doubt keeping the piano.

When I moved from New York to study piano with Ruth Slenczynska in the Midwest, my father let me take the piano with me. Eventually, I lived in a home that had a piano. So, the piano went to my sister. My father gave the piano to my sister with the stipulation that one day she would have it restored to its original glory.

Flash forward several decades, this year that day came. Little did I know all those years ago that I would be the one responsible for the rebuilding of the piano! I got to live with this little gem of a piano for some time while working closely with our technicians refining it to a high level.

Just before it left, something motivated me to sit down and play my father’s Steinway. It was an unplanned, spontaneous inspiration that is recorded as a tribute for the honor of having been entrusted with this awesome responsibility. This is for you Dad – and Coren!

How to Improvise With Christmas Music

Happy Holidays everyone! If you’re a pianist (or a musician of any sort) you may be called upon by either family or friends to perform something for them this season. It might be fun to be able to accompany as people sing holiday favorites! While you may not have time to practice Christmas music, I have a simple solution for you!

Find some of the easiest Christmas music you can and make it your own by improvising! This is both an easy and fun way to present some holiday cheer as well as a way to practice your improvisation skills. In the video attached to this article, I use a song you can find on Virtual Sheet Music. There is a wide selection of Christmas songs available on the site and they have different arrangements for each of them (ranging from very easy to very difficult).

When it comes to improvising, the most important thing is being intimately familiar with the song. The great thing about using Christmas music is that you’ve heard them so many times; it’s perfect to improvise with!

In the video, I use the song “Greensleeves” (commonly known as “What Child is This”). I chose the easiest possible arrangement so it’s easy to read. You will hear an example of the music played exactly as written first and then a few improvised versions to see what is possible.

But how can you improvise on the written music? The beauty is that you can embellish any way you like! Don’t be afraid to experiment adding notes and altering rhythms. Then you can try to use play the left hand descending harmonies and make up a totally new melody on top! Or have someone play the left-hand part while you make up a melody. The only rule when it comes to improvising with this type of music is to have fun. Everyone you’ll play for will appreciate your efforts, so enjoy!

Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729

How to Play Chopin Prelude No. 7 in A Major

Welcome back to my ongoing series featuring the Chopin Preludes. In past lessons I’ve given tips on Chopin Prelude No. 4 (E Minor) and Chopin Prelude No. 6 (B Minor). Like these past lessons, I will be providing a few tips for this Prelude. If you want more advanced lessons, you are in luck as I will be producing some advanced courses on selected repertoire very soon; to get more information please email me directly at Robert@LivingPianos.com.

The thing that makes this particular Prelude so special is that it’s short in length but rich in depth. So what is the best way to approach this piece?

You might have noticed that this piece is broken into short sections with slur markings over each phrase. If you watch the video attached to this article you will notice that I utilize a lifting motion to begin each phrase. I also employ a technique which brings out the top notes for more expressive playing.

Lifting is a method you must employ that replicates how wind and string instruments begin playing phrases. I have played the French horn for many years and one of the most striking differences between playing the piano and playing wind instruments is how you start the first note of a phrase. When playing the French horn, you have to prepare yourself for the first note by taking a big breath and starting the note with the tongue. On the piano you can play a note simply by pushing the key down! How can you prepare yourself to produce the precise sound you are after?

Here is a lifting technique that is simple and effective for beginning a phrase with the exact sound you have in mind:

First, start with a limp wrist, then bring your arm down to the keys while straightening up your wrist. This creates backwards leverage which produces a slower release of the note giving you more control. If you use this technique you will soon notice that you have absolute control over the start of your phrases.

In addition, each one of the phrases in this piece should have a rise and a fall – just like a breath. It is vital that you avoid remaining static with your playing; you should always be either rising or falling.

Bringing out the top notes is another extremely valuable technique for expressive playing. When you are playing quietly it is necessary to delineate the top notes to make them stand out; otherwise the melody gets lost. The general rule is, the quieter you play, the more difference there must be between melody and accompaniment. When you play louder, this isn’t a problem since top notes will come through. However, when you are playing quietly, you need to reach with your fingers to delineate the top notes and make them sing.

Thanks again for joining me Robert Estrin Robert@LivingPianos.com. If you want more information on the upcoming advanced videos I have planned please email me.

Interview with George Ko (Pianist): Selecting a Piano for a Performance

This week we have a special presentation for you. I had the opportunity to interview Steinway artist: George Ko (www.georgeko.co) a professional pianist about how to select an instrument for a concert. We also discussed the piano industry in general. I hope you enjoy it. This is part of a continuing series of interviews with noted people in the piano world.