All posts by Robert Estrin

Learning Hanon’s Virtuoso Pianist Part 3 – How to Practice

The third part in my series on Hanon’s Virtuoso Pianist comes from a viewer question about how much to practice these lessons. In case you missed them here are the first two parts in my series on:

Part 1 – The First Lessons

Part 2 – How to Practice Scales and Arpeggios

Believe it or not, there is such a thing as over-practicing exercises. One of the great things about the piano is that there is a wealth of music – so much so that it would be impossible to learn it all in a lifetime. So why practice strictly exercises when there is so much other music you could be learning and playing?

There are some instances in which you will need to correct technical problems with your playing and develop fluid a technique. Scales and arpeggios are a great resource for this. But how much is too much practice when it comes to exercises?

Generally, you should think of these as a warm-up to your practice session. If you dedicate 10 minutes to the beginning of your daily practice to focus on scales, arpeggios, or other exercises, it will benefit you immensely. What’s most important for your progress is the consistency of practice.

There may be times in your musical development when exercises can be critical in expanding your technique and developing strength. However, you should not ignore repertoire. You can continue to develop your strength and technical prowess while learning music as well – after all, we learn our instruments to play music!

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

Piano Lessons: Mozart’s Sonata K 457

We’ve had a lot of questions about this particular Mozart Sonata K 457 and today I’m going to address a very common question I receive about this piece. In the second movement, there is a section of very fast notes – some are 64th notes, some even go to 128th notes – and people are very interested in how to fit these notes in.

The simple answer is that you don’t need to fit these notes in perfectly as written – the final product should come out correctly but there is a certain level of freedom allowed. Here is an example of the section we are discussing:

That looks intimidating, doesn’t it? Well, there is a secret to playing this section and actually making it sound even better. Start the run a little bit early (just a hair before it’s supposed to actually start). Now is this going to affect the sound of the piece and make it lose its integrity? Not at all.

Mozart was known as a great improviser – as so many of the great composers of the past were – and they did their best to write down their music as accurately as they could. However, when it comes to cadenza-style passages, there is only so much you can do to write it down so that the music makes sense visually. So by experimenting with the timing, you can actually produce a better execution of the passage and not have to worry about having such a rapid string of notes. You are much better off not slowing down your tempo at all, but instead adjusting the timing to fit the notes in a musical way.

In the video example provided with this article, I show how I personally start a little bit before the run of notes. Would Mozart mind? I don’t believe so. I personally believe that you are always better off playing something that sounds good rather than forcing something. For example – How to Play Trills on the Piano.

You will want to play the number of notes you can execute comfortably and shouldn’t feel compelled to play a larger number of notes or strain yourself in playing higher notes in an attempt to keep the authenticity of the piece intact. Ultimately you must make music; that is the bottom line.

I hope this lesson has been helpful for you and I encourage you to experiment and play these pieces with your own interpretation and make them sound as great as you can. Thanks again for joining us, if you have any comments, suggestions or topic for future videos please contact us directly: info@LivingPianos.com (949) 244-3729

What are Double Sharps and Double Flats?

Today we are going to cover Double Sharps and Double Flats. You might think I made this up but it is an actual thing in music and it’s something that you should be aware of.

You’re probably familiar with sharps and flats and you might assume they are represented by the black keys on the piano. This, however, is not entirely true, sharps and flats are not just black keys on the piano.

Sharps and Flats simply raise or lower a note by a half step. A half step is represented by the closest interval. On a piano, this is a set of two keys next to each other with no keys between.

If you play C on a piano it is a white key. If you play a C sharp it is a black key. If you play a C flat it is a white key (the B key). The note that is sharp or flat is simply the next key to that note – whether it is white or black.

So what about double sharps and double flats?

Here is how you would see them in your musical scores:

So what does this mean and how do you interpret these notes. Well if a sharp or flat is simply a half step either higher or lower – then a double sharp or double flat is a whole step (or two half steps) higher or lower than the written note.

So let’s take the example of C again. If you had a C double flat, you would be playing the same key on the piano as B flat or A sharp. But why would someone write a double sharp or a double flat instead of just writing the simpler version of the note? This is because most Western music is organized diatonically – built on scales which have all the letter names in order – line to space, space to line. Sometimes it becomes necessary to use double sharps or double flats in order to notate the music logically adhering to the scale the piece is based upon. (for more information on this subject watch our video on E sharps and C flats).

I hope this was helpful for you and if you have any questions, comments, or suggestions for future videos please contact us directly: info@LivingPianos.com (949) 244-3729.

Does Installing a Player System Hurt Your Piano?

Player systems have become incredibly advanced – many can be programmed using a tablet or phone. They can play historic performances of some of the greatest pianists of all time preserved digitally from the original expressive player piano rolls from over 100 years ago! They can download new music over your home wireless network. Some have speakers that can play music to accompany the piano, and some will even record your performance for playback. It is a very exciting technology.

If you’ve considered getting one of these units for your piano you might wonder whether or not it will do any damage to the piano or if it will it play differently? These are good questions which require something more than a simple yes or no answers. The truth is, it can hurt the piano, but it doesn’t have to.

Many people are initially surprised when they find out how much it costs to install a player system on their piano. Typically it will cost thousands of dollars. The process to install a player system is quite complex and you will want to make sure you work with a technician who is experienced in installing them.

In order to install the system, the technician must cut into the key bed where the player system actuators come through to operate the keys from the bottom. Under the hands of a skilled technician, there is virtually no risk involved with installing a player system.

With the right technician, you will not be able to tell a difference in the action if a player system is installed. My technician has been installing player systems for over 30 years and I’ve played many pianos he has installed them on and can’t tell any difference in the feel or response of the pianos in any way.

Now, there is another side to player system installation that you should be aware of. If a technician is not skilled in installing player systems, there is some risk of damage to your piano. Incidentally, a large piano moving company started training its truck drivers to install player systems in pianos in response to a decline in piano sales and deliveries after the crash of the housing market. Many dealers are taking advantage of the low labor costs. So, when you consider having a player system installed in your piano, be sure to inquire who is doing the work.

Do Piano Actions Get Lighter with Age?

Nelson asks if piano actions get easier to play as the piano ages. He noticed that over time his Yamaha piano became easier and easier to play. Do piano actions actually get lighter as you continue to play them? There is no absolute yes or no answer to this question, but there are certain fundamentals that are important to understand.

The first thing to be aware of is that when you buy a brand new piano, the felt bushing will eventually loosen up over time – and fairly quickly if you play a lot. Each key sets in motion nearly 100 parts. Wherever there is friction, there are felt bushings. Over time they will loosen up.

On the other hand, if you don’t play your piano much, the parts can actually get stiff and harden up over time. A humid environment can make the felt bushings swell slowing things down as well. A piano technician will typically lubricate parts of the piano action. If the piano isn’t played, dust can accumulate inside the piano and make the action gum up making it harder to play.

If you practice a lot or play your piano every day it will actually get easier to play the instrument over time. Why is this? Every time you hit a key on a piano there is a felt hammer that impacts the strings. As time goes by, the hammers will get grooves in the felt as they continue to strike the strings. This becomes compacted felt which is hard and produces a bright, brittle tone with little effort. So, even if the piano is physically no easier to play, you will get much more sound out of the instrument with the same effort making it seem easier to play. The way to deal with this phenomenon is to have a qualified piano technician reshape the hammers by filing them to create the original egg shape which produces a warm, projecting tone. Over time when the hammers have been filed a number of times, they will have less mass making the action lighter.

The only reason a piano action would get heavier is if you don’t play it a lot. Otherwise, with regular play and maintenance, your piano will generally become easier to play.

On some older Steinway pianos, they were using a paraffin solution that can cause a condition called verdigris where the action may become very sluggish and the piano might feel considerably heavier. However, this is generally not a problem to worry about except on certain vintages of Steinway pianos. The only real way to remedy this issue is to have a technician perform skilled work on it (which might only relieve your issue temporarily) or replace some action parts.

Thanks for the great question Nelson, if any of you have any questions or comments please contact us directly at: info@LivingPianos.com (949) 244-3729.

The Life of an Orchestral Musician

A dream for many music conservatory students is to become an orchestral musician. The industry has changed dramatically over the past few decades but there are still plenty of orchestras and possible job openings. But what is it like? What are the hours, the demands, and even the general lifestyle?

The sad thing is that there are very few jobs in North America that pay a living wage for an orchestral musician. The competition for these jobs is extremely fierce and you will often audition with hundreds of other possible candidates for a single position. Despite the dozens of orchestras around the country, most of them have become part-time jobs. In order to support themselves; a lot of orchestral musicians turn to teach or freelance performance to supplement their income.

As for the full-time positions in orchestras, you must be ready to compete against hundreds of other musicians at every single audition. It might sound discouraging but for a lot of musicians since just making it to the quarterfinals of an audition is a monumental achievement. A lot of success really relies on knowing how to audition. Just because you’re a great musician doesn’t make you great at taking auditions.

By and large, the people who end up getting jobs with orchestras have made a career out of auditioning. All of these musicians must be willing to travel to any available auditions and spend the majority of their time learning and being instructed by coaches on specific repertoire. This can be incredibly expensive and time-consuming; all of these musicians must have a system of support in order to work for their goals. Whether it’s teaching or performing freelance, these musicians must find a way to support their passion beyond just auditioning and practicing.

So what is the life of an orchestral musician like? Well even though it can be very glamorous and incredibly fulfilling, it’s a very demanding job. You have to remember that there are literally hundreds of other people that would jump at the opportunity to have your job; this means you have to keep yourself in top-notch condition. Even if you have time off from the orchestra you will have to practice every single day to stay in shape and learn your parts.

While it’s incredibly challenging to find and keep a job in an orchestra it can be richly rewarding. Many people spend their whole lives in pursuit of this and never actually achieve full-time success. Sometimes the freelance and part-time work are all they will achieve but it’s nothing to scoff at. Getting paid to play music is a complicated endeavor and it can truly take a lifetime to achieve success. But for a musician, it is the path to take.

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

Orchestra Conductor Jobs Via Jooble:
https://jooble.org/jobs-orchestra-conductor